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If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Spanish Painting - -Author: Aureliano de Beruete y Moret - -Editor: Geoffrey Holme - -Release Date: March 12, 2021 [eBook #64796] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Turgut Dincer, Chuck Greif and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK SPANISH PAINTING *** - - - - - SPANISH PAINTING - - TEXT BY A. DE BERUETE Y MORET - - (DIRECTOR OF THE PRADO MUSEUM, MADRID) - - - 1921 - - - EDITED BY GEOFFREY HOLME - “THE STUDIO,” LTD., LONDON, PARIS, NEW YORK - - - - - LIST OF ARTISTS WHOSE WORKS ARE REPRODUCED IN THIS VOLUME - - - IN COLOURS - - PLATE -El Greco (Domenico Theotocopuli) - _La Gloria de Felipe II (The “Glory” of Philip II)_ III -Francisco de Ribalta - _San Pedro (Saint Peter)_ VII -Don Diego Rodriguez de Silva y Velázquez - _Venus y Cupido (Venus and Cupid)_ XII -Francisco de Goya y Lucientes - _El Columpio (The Swing)_ XXIV -Joaquín Sorolla - _Saliendo del Baño (After Bathing)_ XXXIII -Luis Masriera - _Sombras Reflejadas (Reflected Shadows)_ XXXVI -José Pinazo - _Crepusculo (Twilight)_ XXXIX -José Benlliure Gil - _Haciendo Bolillos (Lace-making)_ XLII -Fernando Alvarez de Sotomayor - _Paisanas Gallegos (Galician Peasant-women)_ XLV -Francisco Sancha - _Un Pueblo Andaluz (An Andalusian Village)_ XLVIII - - - IN MONOTONE - -Hernando Yáñez de la Almedina - _Santa Catalina (Saint Catherine)_ I -Juan Pantoja de la Cruz - _Philip II_ II -El Greco (Domenico Theotocopuli) - _San Pablo (Saint Paul)_ IV - _El Entierro del Conde de Organ - (The Burial of the Count of Orgaz)_ V - _Retrato de un Caballero (Portrait of a Nobleman)_ VI -Francisco de Zurbarán - _El Beato Dominico Enrique Suson (The Dominican, Henry Suson)_ VIII -Don Diego Rodriguez de Silva y Velázquez - _Calabacillas el Bufon (Calabacillas, the Buffoon)_ IX - _Las Meninas (The Maids of Honour)_ X - “ “ “ “ (_detail_) XI - _Philip IV_ XIII - _Infante Baltasar Carlos_ XIV - “ “ “ (_detail_) XV - La Dama del Abanico (The Lady with a Fan) XVI -Fray Juan Rizi de Guevara - _Un Caballero Joven (A Young Cavalier)_ XVII -Bartolomé Esteban Murillo - _Moises tocando la Roca (Moses striking the Rock)_ XVIII - _El Milagro de los Panes y los Peces - (The Miracle of the Loaves and Fishes)_ XIX - _San Felix de Cantalisi y el Niño Jesu - (St. Felix of Cantalisi and the Infant Christ)_ XX - _La Caridad de Santo Tomas de Villanueva of Villanueva)_ XXI -Don Juan Carreño de Miranda - _Retrato de una Dama (Portrait of a Young Lady)_ XXII -Claudio Coello - _Don Juan de Alarcon_ XXIII -Francisco de Goya y Lucientes - _La Cucaña (The Greasy Pole)_ XXV - _Autorretrato (Portrait of the Painter)_ XXVI - _Conde de Fernan-Nuñez (detail)_ XXVII - _Infante Don Carlos Maria Isidro_ XXVIII - _La Condesa de Chinchou (detail)_ XXIX - _El Duque de San Carlos_ XXX -Eduardo Rosales - _Mujer saliendo del Baño (Woman leaving the Bath)_ XXXI -Mariano Fortuny - _El Patio de la Alberca en la Alhambra - (The Alberca Court in the Alhambra)_ XXXII -Ignacio Zuloaga - _La Señorita Souty_ XXXIV -Eduardo Martinez Vazquez - _Una Aldea de la Sierra de Gredos (Avila) - (A Village in the Sierra de Gredos, Avila)_ XXXV -Gonzalo Bilbao - _Las Cigarreras (The Cigar-makers)_ XXXVII -Ramón de Zubiaurre - _Retrato de mi Esposa (Portrait of my Wife)_ XXXVIII -Antonio Ortiz Echagüe - _Supersticion (Superstition)_ XL -José Gutíerrez Solana - _Carnaval en la Aldea (The Village Carnival)_ XLI -Claudio Castelucho - _Niños Gitanos en la Playa (Gipsy Children on the Beach)_ XLIII -Juan Cardona - _Altar de Mayo (May Altar)_ XLIV -Carlos Vazquez - _Una Dolorosa (Our Lady of Sorrows)_ XLVI -José Mª Lopez Mezquita - _Pilarcita_ XLVII -José de Marti Garces - _Interior_ XLIX -Nicolás Raurich - _Terruños (Rough ground)_ L -José Ramón Zaragoza - _Viejos Bretones (Old Bretons)_ LI -Conde de Aguiar - _Retrato de un Torero (Portrait of a Bullfighter)_ LII - - - - -SPANISH PAINTING--WITH SPECIAL REFERENCE TO THE EXHIBITION AT BURLINGTON -HOUSE, LONDON NOVEMBER, 1920 TO JANUARY, 1921 - - -The exhibition of Spanish Painting held in London in the galleries of -the Royal Academy from November to January last, excited a lively -interest in the English public and inspired numerous articles on the -subject in English journals and reviews. If all of these were not in -accord on certain issues and critics adopted various points of view, it -may still be said that the crowds of visitors which it attracted and the -manifold expressions of opinion it evoked supply the clearest evidence -that the exhibition aroused the curiosity of the English public, and -consequently may be regarded as a triumph for Spanish art and a success -for its promoters. - -The reasons underlying the interest which Spanish art awakens to-day in -enlightened circles (this is the second exhibition of the kind which -Spain has of late witnessed beyond her borders, recalling that of Paris -in 1920) are worthy of reflection and may be said to have inspired the -Royal Academy’s exhibition. - -Spain--her life, history, customs, art--is often regarded subjectively -as though enveloped in a haze, or through the medium of legend, which, -however accommodating it may be to literary expression, is by no means -conformable to the facts of history or present realities. Viewed in this -picturesque manner and because of the isolation in which the country -remained for generations, and perhaps still remains, it has attracted -the attention of writers and poets, and even scientists and -philosophers, unfamiliar with their theme and dubious in their -assertions. Doubtless the typical, the true native spirit has not been -misunderstood by the outside world. Thus in the case of Cervantes and -Velázquez, their names are household words in every land. But the kind -of knowledge to which we allude is not usually imparted by such lofty -spirits, who speak to humanity from the heights, without distinctions of -race or frontier. That which they accomplish is only a part of the -national achievement. It is the medium in which it is fashioned, the -environment in which it comes into being, its artistic matrix, which -determines the precise type of racial endeavour. To its national -character the new Spain cleaves, and by its light her ideas will be -readjusted, her history interpreted, her present respected as in line -with her tradition, which, in the sphere of things artistic, Spaniards -regard as a potent factor in the advancement of world art. - -Spain is familiarly spoken of as a country of distinctive character, and -is so not only because of its geographical situation, which has kept it -somewhat apart from frequented routes, but because it aspires to such a -reputation. At the present time it is incessantly productive of art, its -output exhibiting a specific character of its own, obvious and -intelligible to those who examine it with sufficient care. Undoubtedly -it has been influenced at certain periods by extraneous currents, but -during the sixteenth century, when the true Spanish school was created, -it was notably independent and unique. Its productions, these national -qualities which above all determine that which is called a school, -possess a character of their own, a special determinative essence, which -can only be explained by metaphysical processes. But at the same time -they display external manifestations, an ultimate expression, a speech, -an idiom, so to speak, peculiarly national. And this speech in art is -quite as fundamental as the spirit which determines the nature of the -creation. All-powerful, or at least very great, is the spiritual -capacity for creating mighty works _in mente_. But the various schools -of art came into being not only because they enshrined an idea, but -because they were able to give it form. The characteristics of the -expression, not of the idea, of form, not of essence, these it is to -which the critic should address himself in the first instance when he -desires to differentiate between the works of one school and another, -and when trying to distinguish the work typical of one artist from that -of others of the same school, who have been less successful in following -a common master. The creative idea, the spirit which animates every -work, is distinct, according to the period of its origin, even in the -case of the productions of the same race at different periods; but in -expression its form is always similar, its ideas the same. As in -literature writers of one nationality have to employ a common tongue, so -in painting an expression equally conclusive, a palette, a technique, an -idiom quite as definitive, determines the compositions typical of each -race. If we find scattered throughout a museum where there are examples -of all schools, a Saint by Greco, an ascetic figure by Ribera, a -portrait by Velázquez, an image by Zurbarán, a visionary subject by -Valdes Leal, a Virgin by Murillo, and a woman by Goya, it is probable -that these works will contrast with one another too forcibly, or at -least will not blend harmoniously. Each of them belongs to an epoch, and -possesses a distinct creative and æsthetic spirit. But, even so, we will -find that although the works belong to different schools, and variations -and dissimilarities abound, all have one speech, one ultimate idiom in -common; in a word, all have been painted in Spanish. - -It is not easy to state precisely in what this ultimate expression -consists, but on general lines it is possible to affirm of Spanish -artists that their work is characterised by a decided tendency towards -sincerity, simplicity of composition and tonal harmonies in grey. -Velázquez appears to have fixed the character of the Spanish palette and -technique: the scale of very subtle greys, the harmonies of grey and -silver, the use of certain carmines and violets, first encountered in -the work of Greco, were tested and employed by him, as were those -coloured earths especially indigenous to Spain, the earth of Seville and -the preparation of animal charcoal, the use of which is noticeable in -his canvases. These determined the material elements by the aid of which -was developed a method of painting as simple as characteristic. -Velázquez, like the painters of the great Italian school and the schools -of the North, grew tired of conventionalism in colour and perspective, -and, employing an exuberant palette and gifted with vision of -extraordinary keenness, turned to the natural, and, with the lesson of -Greco before him, and by aid of his own gifts of observation, sincerity, -and a supreme simplicity, did not employ more than the necessary colours -to obtain those gradations of tone which to our eyes appear so natural -and present the harmony afforded by reality, the master by choice and -temperament inclining to those in which were combined all the shades of -grey. He created by his unique palette the true and unmistakable Spanish -style. Goya, more than a hundred years after him, during the close of -the eighteenth century and the beginning of the nineteenth, a period -when the national characteristics tended towards insipidity, maintained -this traditional spirit and thus saved Spanish painting from becoming -confounded with the works of his contemporaries in France and England. - -The years which followed those of Goya, the remainder of the nineteenth -century, those years of easy communication, of rapid transit, of -frequent travelling, of international study and residence abroad, so -much more advanced in some respects, were less rich for Spanish -painting. Spanish artists, absent from their country, engaged in many -departments of work and instruction, lost something of their former -qualities. At the present time, in which there seems to have been born -into the world a new assertion and exaltation of nationality, Spaniards -have regained their ancient spirit, and while aspiring to absolute -modernity, remain faithful to a tradition which is peculiarly their own, -which makes for national individuality, and has caused them to be -regarded with that interest which always accrues to the original, the -characteristic, the intelligent, and consequently arouses attention and -anticipation. - - * * * * * - -England has ever followed the progress of Spanish art with enthusiasm -and interest. During the nineteenth century, the majority of the works -of art which left Spain found a resting place in England. In London -within recent years three exhibitions of Spanish painting ante-dated -that of 1920--one in the New Gallery (1891), another in the Guildhall -(1901), and the last in the Grafton Gallery (1913). All of them were -rich in results, more especially the third, which was remarkable for its -modern section. The difference in character between the exhibition of -1913 and that of the Royal Academy in 1920 consists more especially in -the display of works belonging to English collections, the latter being -composed for the most part of examples sent from Spain as an act of -homage to the English people, and to assure them once more of the -existence of a spiritual bond or tie between the two countries, which -with the passage of time aspire to a more intimate relationship. - -It was at first the intention of the organisers of the exhibition of -1920 not to send as representative of the older art any except the works -of the sixteenth and seventeenth centuries and a few pictures by Goya, -as examples of the golden age of Spanish painting, and especially in -view of the exceptional interest in Goya. But it was ultimately decided -to furnish an exhibit completely representative of all epochs. At the -same time the Spanish Committee recognised that the section devoted to -Primitive Art--in which among the many artists represented the most -remarkable was Ribera--was lacking in distinction. This it regretted and -felt a pleasure in its ability to compensate for the omission by -providing a full representation of the greater Spanish painters, and in -being able to lend ten Grecos and twenty-one Goyas, preserved in Spain, -to Burlington House, a thing until now impossible of accomplishment and -which it will not be easy to repeat. - -The works of the primitive period placed on view, though all of peculiar -interest, and several of striking character, were still inadequate to -give a just idea of the development of early art in the Iberian -Peninsula. The first essays of Spanish art were indeed lacking in -national characteristics. At a time when Italy and Flanders produced -painters of distinctive note, Spain, and perhaps the whole -Peninsula--for in this connection we must not forget Portugal--filled -its churches, monasteries and convents with panels and altarpieces. With -the exception of the names of several artists now identified, all of its -productions are of doubtful paternity, its style is borrowed and in -general is distinguished only by the possession of regional -characteristics of a minor kind. Therefore the paintings on panel that -it produced are to-day referred to, in order to distinguish them one -from another, as belonging to the Castilian, Portuguese, Catalan, -Aragonese or Valencian Schools. For this there is an historical reason. -The Peninsula, at the time in which its early art was produced, was -divided into different kingdoms and states, each absolutely independent -and having its own history and traditions. Thus the kingdom of Aragon, -with Valencia, was intimately connected with the Mediterranean, and came -within the sphere of Italian influence. Castile was more closely related -to the states of Flanders and the Rhine, admitting and developing -Flemish and German tendencies. Catalonia possessed an art very similar -to that of Provence. But I believe that all this work, chaotic, lacking -in national expression, and in determinative characteristics, presents a -difficult problem for its investigators. Add to this that these panels -and altarpieces were often the joint work of several artists, one -painting costumes, others specialising in heads and hands, others in -drapery, still others in backgrounds, so that the whole resulted -frequently in a composition confused and equivocal. All that can be said -with any degree of certainty is that the production of this time was -large, rich and of great merit, so far as that can be attained by a race -of colourists who were lacking in discipline and insight. - -This manifestation of pictorial art did not obtrude itself in any -decided manner until the fourteenth century. To discover its origin we -may have to compare it with the miniatures in the manuscripts of San -Isidor, or the archaic mural decorations traceable by Byzantine art, and -it would seem to possess a greater archæological than artistic interest. - -Spanish art during the last years of the thirteenth century and until -two centuries later is so incomplete in its details, presents so many -diverse aspects, and the circumstances of its rise and tendency are so -vague, that to venture any general opinions regarding it would be -unwise. Its study has recently been confined to short monographs by -various critics and scholars, both Spanish and foreign, which do not go -beyond the discussion of specific works and artists, and the particular -investigation of obscure titles and documents exhumed from the archives. - -The arrival of Starnina and the Florentine Dello at the Court of Juan I -of Castile in the second half of the fourteenth century, appears to have -given a very great impetus to that style to which the Spanish painters -were growing accustomed. But this Italianism notwithstanding, Flemish -influences penetrated, if more lately, still more rapidly into Spain. -The early Spaniards pursued and sought a realism in art which they were -unable to find in that of Italy, hence their predilection for the style -and manner of the Flemish and German painters and those of other -countries whom they came to call painters of the North. The appearance -of Van Eyck in the Peninsula in 1428, and that of other Flemish painters -who arrived there about that time, aroused a true enthusiasm and -imparted to Spanish art a tendency to copy faithfully from nature which -henceforth came to be one of the characteristics which have never left -it. Among these painters of the North it is strange to find, a little -before the middle of the fifteenth century, an artist called Jorge -Inglés (George the Englishman), so named, without doubt, from his -origin, who did some important work, especially in the hospital of -Buitrago, the study of which we heartily commend to the English public -and critics. We should like to have sent this work to the exhibition of -the Royal Academy, but its enormous dimensions, as well as other -circumstances, rendered this impracticable. - -During this epoch, the composition of Spanish works begins to show the -use of colours prepared with oil, thus permitting the development of a -technique more in conformity with the Spanish temperament. Consequently -the new medium appears in the works of many masters, among the first of -these recorded being _La Virgen de los Consellers_, painted and signed -by Luis Dalmau in 1445. - -Andalusia, a region which has come in more recent times to be regarded -as the cradle of Spanish artists, produced at this time not a few -painters. The work, _Saint Michael_, of the master Bartolomé de -Cárdenas, which was exhibited at the Royal Academy, pertains to this -rich and flourishing period, which gave an impetus to the forces then -impelling all Spanish life toward the national union which came to pass -in the reign of the Catholic kings. Two new centres of activity arose at -this epoch, which greatly fostered the rise of Spanish civilisation and -favoured the development of pictorial art--two cities glorious and -historical in Spain--Toledo and Salamanca. - -Side by side with this budding art--which was in a certain sense -inspired by the schools of the north, but nevertheless began to display -a national tendency--a few isolated artists, either by preference or -training, still retained the Italian style. We recall the _Santa -Catalina_ of Hernando Yáñez de la Almedina (Plate I.), shown at the -exhibition, a work which has not been sufficiently appreciated and must -be regarded as a beautiful example of that period. - -Arising at the close of the epoch of national unity, the House of -Austria, in the person of its most exalted representative, the Emperor -Charles V, commenced to govern the destinies of Spain. The victorious -expansion of Spanish arms, both in the Old World and the New, during the -first half of the sixteenth century, had but little influence upon -artistic effort, and none of the Spanish painters of this period are -regarded as the equals of their Italian, Flemish, German or Dutch -contemporaries. And our artists, at a time when the entire national -fortunes were hazarded in campaign after campaign, had enough to do to -maintain an epoch of gestation, to comprehend the laws and trace the -spiritual current of the Renaissance which now dawned upon the world of -culture. This great movement failed also to take a national direction -with Spanish artists, and the few books and treatises on art printed in -Spain during this period are poor in conception and lacking in -information. - -Even to mention the names of the painters of the period, it would be -necessary to burden this critical sketch with a list of artists of -secondary importance. In his art Alonso Berruguete was certainly -Italian, but in spite of this, he gave to his works a marked national -stamp, maintaining in the central portion of the Peninsula a patriotic -inspiration which resulted later in a separate school of culture. -Valencia, with artists trained in Italy, was preparing a great -reputation for the future, and then a painter of individuality, isolated -in a minor province, and having few relations with the Court, created -with his brush an austere art, a little dry and stiff, ascetic in its -inspiration and scarcely suggestive at first sight, but striking in its -individuality, and reflecting that spirit of Spanish theology and -mysticism which was to dawn somewhat later. I refer to Luis de Morales, -the maker of all these _Dolorosas_ and _Ecce Homos_, so unmistakable and -so much esteemed in Spain. - -We come now to the reign of the son of Charles V, Philip II, a man whose -memory has had to endure much criticism, but to whom, from the point of -view of art, his country owes not a few of those works which it -treasures most. The portraits of Moro, a wealth of Flemish and Italian -paintings and, among others, a very complete collection of Titians, are -due to the commands of Philip II, who, before he shut himself up in the -Monastery of the Escurial, and during his visits to Italy, Germany and -Flanders, was gathering choice examples of the art of that time, and of -the period immediately preceding it, installing in the castles of Spain -those paintings which are to-day the most important of the foreign -collections housed in the Prado Museum. - -But meanwhile the true national output of those years, mostly of -religious pictures, was destined for the churches and convents, and must -no longer be regarded as of minor importance. Meanwhile, also, by royal -command, there arrived in Spain the works of foreign masters, and in -Court circles there arose a style of painting exclusively devoted to the -_genre_ of the portrait, and which is known to-day as the school of -portraitists of Philip II and Philip III. Its origin is known to us. It -is due to the teaching which our painters received from that famous -Hollander, Antonis Moor, who had so close a relation with our country -that his name has become hispanicised, and who is equally well known -to-day by his Dutch name, as by the more Spanish-sounding Antonio Moro. -Patronised by Philip II, he gave instruction to certain Spanish -painters, especially to one, Alonso Sanchez Coello, who was his disciple -and successor in art. Another Spanish follower of his, besides Coello, -was Pantoja de la Cruz, and the third and last of those who maintained -this school and who completed its cycle, was Bartolomé González, who -flourished during the first years of the reign of Philip IV. Other -portrait painters, disciples and imitators of these might be mentioned, -but the artists alluded to typify this school, brief in its development, -very distinguished and typical, though, as we have said, not of Spanish -origin. Their characteristics are quite unmistakable. They paint a -life-like portrait, dry, hard, minute in execution, and complete in all -its details, to the treatment of which they pay much attention, -especially as regards personality. But although skilful and sincere, -their school degenerated and the last of its manifestations is -practically an imitation of the first, possessing little excellence and -scanty inspiration. Portrait painters of the Court, as we have -indicated, the works of these men, though in general replete with strong -personality, especially as regards the royal family portraits, have been -scattered throughout the world, and were practically confined to the -palaces of other reigning houses. - -In the London exhibition we were able to study the most important of -these several works, for example that of Pantoja, _Portrait of Philip -II_ (Plate II.), who is represented as elderly and on foot, a -full-length portrait which faithfully reflects the appearance of this -monarch, and which is housed in the Monastery of the Escurial. It -appeared at the Royal Academy, being lent for the purpose by His Majesty -the King of Spain. There were others, the property of His Britannic -Majesty, which are housed in Buckingham Palace, the portraits by Sánchez -Coello of the _Archdukes of Austria_, _Wenceslaus_, _Rudolf_ and -_Ernest_, the _Portrait of the Infante Don Diego_, and that of _Margaret -of Austria_. That by Pantoja, _Portrait of a Lady of the Palavicino -Family_ (regarding the authorship of which various doubts have arisen), -though not of artistic importance, certainly presents a critical -problem, for while the art of portrait painting was being developed in -Spain, in other countries and particularly in Italy, the disciples of -the school of Moor created works which might at times be confounded with -those of Spanish painters. Bartolomé González was also represented by -the portrait of the _Cardinal Infante Don Fernando of Austria_, lent by -the Marquis de Viana. - - * * * * * - -About the year 1575 there came from Italy to the city of Toledo, a young -artist, scarcely thirty years of age, born in the island of Crete, of -Greek parents. He was called Domenico Theotocopuli, and was known then, -as he is to-day throughout the whole world, as El Greco (“the Greek.”) -There was reserved for this man the mission of shaping and, in the -course of time, perfecting through the medium of his works, a technique, -especially as regards execution, performance and character, which is -manifest in all his creations, and the great enthusiasm which the lovers -of Spanish Art evince for it is natural and explicable. The fame which -the first works of El Greco aroused in Toledo reached the Court, and -Philip II commanded him to work in the Monastery of the Escurial on -pictures for the Church. They were at issue from time to time, the King -and the painter, and do not quite seem to have understood one another. -Philip II, used to an Italian and Flemish artistic atmosphere, and an -enthusiastic admirer of Titian, was unable to comprehend the work of El -Greco, which, though of the Venetian tradition, represented an -innovation profound and complete, and to-day, as four centuries ago, it -perplexes many people. But lovers of Spain, those who apprehend her true -genius and have studied her characteristics and idiosyncrasies, see in -El Greco one of the most interesting figures in international art. In -the spirit which appears in his works, the genius with which they have -been performed, the marvellous technique developed in them, and the -workmanship which gives such brilliance and quality to the colour, so -that it appears at times to have been executed with enamels, he -triumphs, disarming criticism, making us not only forget, but even -applaud the extravagances and lack of proportion of which his works are -full. - -The work of El Greco may be divided into two distinct groups: one -comprising human figures in general, portraits; the other divine -figures, images, and religious paintings. In one work, the most complete -and important of all, the _Burial of the Count of Orgaz_ (Plate V.), -these two aspects are joined. The upper portion, the heavenly, which it -would seem the painter suffused with his idealism, is peopled with -divine figures, symbolic and incorporeal. In the lower part, which -represents an earthly scene, the form and colouring have the qualities -of things terrestrial. In the exhibition of the Royal Academy, in the -salon set apart for the works of El Greco, there were gathered ten -examples eloquent of these two phases of his effort. His _Self-portrait_ -and _A Trinitarian_ exhibit the second; _The Annunciation_ and the -_Christ embracing the Cross_ the first. Another canvas which occurs to -one as affording a good example of his brilliance of colouring and -individuality is the picture full of miniature figures, _The “Glory” of -Philip II_ (Plate III.), sent to London by His Majesty King Alfonso -XIII. - -In this collection of his works, as indeed, in all those from the brush -of this master, one could study the origin of the greyish tonality -characteristic of the Spanish school which he was the first to introduce -and give effect to, and to which Velázquez, in later years, gave -definite form, thus founding a technical characteristic of the school. -It may interest those curious regarding such problems of painting that -the shadows which abound in the works of El Greco, though intense, are -never black, and this lends to them a singular profundity and -atmosphere. From this relation of the light and shade, never attaining a -pure black or white, there results a wonderful transparency and -corporality, and all this is attained with fluid colours, in most -instances blurred and rubbed and nearly always rather soft, slight only -in the brighter places and in the points of light. He observes and -understands that the reproduction of these things in the art of the -painter is not due to faithful copying alone. The atmosphere, the light, -the reflections, which these objects display to our sight, change -according to conditions, and are represented on canvas not as they -actually appear, but according to the aspect they present to the vision, -modified by external agencies. Only thus is it possible to obtain the -impression of truth, of movement, of depth. In the work of the copyist -the objects and figures are petrifications, rigid and dead, in one and -the same plane, in which, perhaps, the ability of the artist can more -readily be appreciated, but which never gives the impression of movement -or of life. - -Distinctive as a creator, originator and master of technique, statements -regarding El Greco’s artistic antecedents are debatable, as for example -the relationship to other masters of Byzantinism which some profess to -be able to discern in his pictures. But it remains clear that in his -typical works he is above all the true interpreter of the Spain that was -noble, pious and mystical, and the most sympathetic delineator of the -spirit of the time in which he lived. We believe that it is correct to -regard him as the adopted son of the Spain of his day. - -Although his work has been discussed since the times of Philip II, -to-day it ought to be regarded as consecrated. It is not only among -painters that we should seek the true influence of El Greco. It is more -extensive, and embraces diverse manifestations, therefore the causes -which animate it are diverse. And so, in the studios of painters, in the -studies of the cultured, among wise and refined critics, among literati, -we may discover the most fervent and impassioned lovers of El Greco. -There exists, without doubt, an invisible bond between this painter and -the world of modern intellectualism, and this is owing in great part to -the enthusiasm which his works arouse, to the peculiar mystery in which -they are enveloped--which we do not find in any other painter--to the -suggestive power which he wields, to something which impassions and -completely subdues us. It is for this reason that disciples of El Greco, -who in past years were scarce, are to-day a legion in number, and their -pictures, once unknown and without value, are now celebrated and occupy -prominent positions in museums and private collections. - - * * * * * - -Neither Tristan, nor Mayno, nor Jorge Manuel Theotocopuli are figures -sufficiently important to allow us to say that El Greco, their master, -founded a school, much less that he formed with them the so-called -Toledan school, which, in reality, had no existence and did not give -rise to an output from that city possessing those marked characteristics -which would place it in the category of a school. - -It has to be recorded that in the last years of the sixteenth century -Philip II brought from Italy several Italian decorative artists to paint -in fresco the extensive walls of the Monastery of the Escurial. He may -have wished to bring with him for the purpose some celebrated foreign -masters, but this was not possible, for the most important epoch of the -Italian Renaissance had come to an end; and instead of great masters, -there came others, decadents, facile “hacks,” who in a short time -covered these enormous wall-spaces with compositions of scanty -inspiration. We mention the visit of these painters to Spain, not -because of any importance it has in itself, but in order to show that -Spanish painters, even those of standing, have in all times been lacking -in the qualities which especially characterise the decorative painter. -Philip II might have encouraged Spanish artists. But whom--Morales, El -Greco, the artists of the Court, the lesser followers of El Greco in -Toledo? No, none of these appear to have been qualified to bring such a -task to a conclusion. This and nothing else was the cause of the coming -of the Italians; and for the rest the King favoured the works of various -Spaniards, placing many examples of their work in his palaces and in the -religious houses he founded. And so Spanish painting remained in this -particular position to the close of the sixteenth century and during the -first years of the seventeenth, which is regarded as its golden century, -when, in the midst of fruitful invention there arose four great figures, -each to-day world-renowned--Ribera, Zurbarán, Velázquez and Murillo. -What centres of artistic life did Spain possess at this time? Two, -fundamentally; those two cities which have since produced the greatest -number of painters and the most able--Seville, the capital of Andalusia, -the open gate to the New World, and Valencia, a Mediterranean port -exposed to the influences of that which had been the classical world, -and in close and direct communication with Italy, which bequeathed to it -the last sparks of the marvellous life of the Renaissance. In Valencia, -Francisco Ribalta, a conscientious painter, who had studied in Italy, -introduced a style of colouring after the manner of Ribera. In Seville, -frequented by all the Andalusian intellectuals, Pacheco, a most cultured -artist, came later on to be the master of Velázquez and Zurbarán. In the -exhibition with which we are concerned Ribalta and Pacheco, more famous -for the disciples they left than for the works they produced, were -represented, the first by Saint Peter (Plate VII.) and his portrait of -himself as _Saint Luke painting the Virgin_; and the second by the -_Portrait of a Knight of Santiago_. - -A disciple of Ribalta, the figure of Ribera rises suddenly like that of -a great master, with all the distinction which the title implies. Going -to Italy while yet very young, he passed the greater part of his life -there, and was known as “Lo Spagnoletto” (the little Spaniard). The -Italians have tried to appropriate this artist to themselves, but his -truly Spanish character is so manifest that no one can entertain any -doubt upon the point. On arriving in Italy, he studied the works of -Raphael and Correggio, finding his true _métier_ at last in the energy -and the chiaroscuro of Caravaggio, who then opposed a realistic style to -the pseudo-classicism so noticeable at this time. Ribera, whose work -exhibits the attributes of Spanish technique, and who above all excelled -in drawing, a quality which distinguished him while still very young, -naturally found in Caravaggio, the master of the chiaroscuro, more -inspiration than in others of the classical painters and those Bolognese -eclectics who were afterwards his imitators and rivals. He went to -Naples, where he quickly achieved a fame which spread throughout Italy -and Spain, his native land, with which he had never lost the most -intimate relations as an artist, and here, in Naples, flattered by -fortune and with riches heaped upon him, he continued to produce his -admirable canvases, until the seduction of his daughter, the most -beautiful of all his models, by the second Don John of Austria, the -natural son of Philip IV, hastened his end. - -The frequency with which he represented tatterdemalions, beggars, -martyrs, saints, scenes of violence, of torture, of asceticism, marks, -as everyone knows, the style of Ribera in its more superficial sense, -and there is scarcely a scene of horror nor a picture of exaggerated -tenebrosity belonging to that period and of Spanish tendency, which has -not been attributed to him by persons of slight experience, so typical -of him are these qualities, in which, moreover, he has no equal. Quite -as exceptional are his vigour, his skilful modelling--which has the -appearance of sculpture--and the anatomical construction of his figures, -the effects of lighting which he knows how to achieve, and the exact -appearance of reality, accentuated, but never repugnant, which he -accomplishes. Always in touch with reality, two styles are apparent in -his work: one, in which he appears to have revelled in violence of -contrast, seeking out scenes of grief, old age or death; and another, -less frequent it is true, in which he represents the more serene and -placid aspects of reality. - -It is a pity that the London exhibition did not have a full and -brilliant display of the work of this master, as thereby his fame, which -to-day is, in our judgment, less than he merits, for reasons expressed -above, might have been securely founded. It is necessary to mention -among the Valencians of this period Espinosa and Orrente. - -In Seville, as we have said, Pacheco was at the height of his fame, the -master of all, the fount of culture. But the technique of this school at -that time was under the influence of a man of a perplexing and stubborn -genius, little suited by character as a guide for youth, but still -animated by the Spanish spirit, subtle in technique and possessing a -notable force of expression. The young men followed his style, which was -in consonance with the progressive tendency of their years. We refer to -Herrera el Viejo (the elder) one of the most remarkable painters Spain -has ever produced. But it is a curious circumstance that those disciples -who worked in the atelier of Herrera, unable to get much guidance from -the master, soon betook themselves to the house of Pacheco, who, -intelligent and comprehensive, did not attempt to misdirect the -temperament and the inclinations of his young pupils, but set them to -the task of faithfully interpreting nature. - -Zurbarán and Velázquez, the most notable by far of all their -contemporaries, protested against the conventionalisms of scholasticism. -They did not seek to embellish the rude form, which the living model -frequently presents to the eyes of the artist in search of a higher -ideal, but to copy it as they beheld it, as it was presented to them, -without distortion or falsity, was the purpose which they maintained -faithfully all their lives. Pacheco appreciated the talent and outlook -of these young men, he protected it as much as he could, and above all -cultivated those qualities which seemed to him the most striking. -Velázquez said to him: “I hold to the principle that nature ought to be -the chief master and swear neither to draw nor to paint anything which -is not before me”; and Pacheco, encouraged by the tendency towards a -frankly naturalistic style which his disciple showed, and observing the -qualities which he evinced, made Velázquez his son-in-law before he had -arrived at the age of nineteen. - -Among such tendencies the art of Zurbarán and Velázquez was evolved. The -works of their youth were almost alike. They are sufficiently -distinguished later because, while the first hardly ever left the -neighbourhood of Seville, expanding but little, Velázquez, as is known, -developed a whole pictorial technique. - -Zurbarán was born in 1598. He was therefore a year older than Velázquez. -By birth he did not belong to Seville, but to the province of -Estremadura. But this notwithstanding, he grew up among the artistic -influences of Andalusia, for the young painter arrived in Seville at the -age of sixteen years, so that he is regarded as one of the greatest -figures of the Sevillean School. For twenty-five years the artist was -famous for his figures of virgins and saints, realistic in character, -powerful, well drawn, vigorous and conceived without exaggeration, full -of life and individuality. We mention as a work great in conception the -_Apotheosis of Saint Thomas_, housed in the Museum of Seville. It is -characteristic of Zurbarán the refractory, who refused to be inspired -either by foreign or national influences. This lent him individuality -and rendered his productions a series of continuous links between which -but little difference can be remarked. He is famous, moreover, for his -religious paintings, his monastic visions. These figures of monks in -white sheets, which arouse admiration and appear to be carved, such is -the relief of their draped folds, are characteristic and full of -grandeur, feeling and austerity, and ought to be regarded in the light -of actual documents of the monastic life of the Spain of the seventeenth -century. - -The distinctive feature of the technique of Zurbarán is the luminosity -rendered by means of strong contrasts of light and shade. High lights -without crudity and shadows without blackness are noticeable, as in the -works of Ribera. The grey tones are never heavy, and their quality, -harmonious in its blending, diminishes the hardness of the lines of -profile, suppressing all rigidity. Zurbarán is, moreover, a painter -easily understood, who rarely has recourse to a symbolism more or less -appropriate for the expression of thought, and his ideal aspirations -always present, in all that refers to form, a manifest passion for -reality. - -This master was well represented at the Royal Academy. Perhaps there was -nothing of great distinction, but the nine works from his brush, all of -one kind, were in general very typical and individual, comprising -images, saints and figures realistic in character (Plate VIII.). - - * * * * * - -We have alluded to the manner of Velázquez’s appearance in Seville and -the influences under which he commenced his apprenticeship. A multitude -of studies seriously executed, some in black chalk, some in colour, were -his first essays. While still a youth he painted a number of those works -which still astonish by their reality, by their masterly drawing--a -quality with which he was naturally endowed--by their sculptural relief, -and by their sobriety. Two works may serve as typical of these, both -well-known in England, where they now are, _The Old Woman Frying Eggs_ -in Sir Herbert Cook’s collection, and the _Water-Carrier of Seville_, -the property of the Duke of Wellington, which we quote as an example of -the style and resolution which the artist bestowed during these years -upon works of a popular character, and which, to judge from its subject -and models, was then a novelty in a school of painting which had -produced scarcely anything except portraits and paintings of a religious -kind. Other works of a naturalistic tendency, vulgarly called -_bodegones_, or “eating-house” sketches, and some of a religious -character, complete the production of those first years of Velázquez, -which was so limited in his later years, that he must be described as a -painter whose output was relatively small. - -When the artist was twenty-four years of age, his father-in-law, -Pacheco, a man of influence, advised him to leave Seville, and himself -introduced him to the Court of Philip IV, in whose service Velázquez -remained for the rest of his life. He was immediately granted a position -and salary at the Court, and his first portraits of the Sovereign and -members of the Royal Family aroused surprise and admiration. These, and -his first subject compositions painted in Madrid, especially that known -as _Los Borrachos_ (“The Topers”), in their high excellence show the -culmination of all the qualities found in the works painted in Seville -during his first years of apprenticeship. Never has the Spanish -picaresque spirit, which forms such a brilliant page in the literature -of those times, been given a more genuine representation than is to be -observed in the canvas just mentioned. If Velázquez had died after -painting _Los Borrachos_, this work alone would have sufficed to have -given him supremacy and the title of leader of a school previously -indefinite and lacking a fixed and individual point of view. - -A little later, at the command of his King, Velázquez went for the first -time to Italy. The influence which Italian art exercised upon him has -been the subject of discussion. It is not possible in an essay such as -this to try to elucidate this point, but it appears manifest that if -Italian art was naturally absorbed by his talent, it did not greatly -affect his native qualities; and to judge from his subsequent work, it -would seem that he showed a constant and single-minded solicitude to -achieve an interpretation always actively faithful to nature. - -The picture _Las Lanzas_ (“The Lances”); the equestrian portraits of -kings, princes and others, in which these personages appear dressed in -hunting costume; those of the buffoons of the Court; the _Scenes of the -Chase_ in the mountains of El Pardo; and some others of a different -type, such as the _Christ on the Cross_, in the Prado Museum, make up -the tale of his output after his brief stay in Italy, and compose what -critics have called the second style of Velázquez, more ample and grand -than that of his youth, and, as time advances, enriching all the works -which come from his brush with those definite grey harmonies which are -occasionally almost silvery in tone, so characteristic and so -unmistakable. - -The painter was for a second time in Italy in the period of his -maturity. He then painted the portrait of _Pope Innocent X_, and -executed a bust of _Juán de Pareja_, which was on view in the exhibition -at Burlington House. Returning soon afterwards to Spain, he there -addressed himself to the accomplishment of his greater works, which -truly reveal a superior art, somewhat enigmatical in its very -simplicity, a sublime style which at first sight does not seem to -require much comprehension and the view-point of which has given to the -Spanish School of all times, as well as to other schools, rich legacies, -excellent examples and notable fruits. There belongs to this epoch of -his artistry the portraits of kings and princes, the second series of -the court dwarfs, even more rich and astonishing than those of the -period of his middle years, some religious pictures, mythological works -and, lastly, the two great works _Las Hilanderas_ (“The Spinners”) and -_Las Meninas_ (“The Maids of Honour”) (Plates X. and XI.), supreme -monuments of a school, models of synthetic art, of astonishing -simplicity in their composition, of delicate harmony, eloquent of the -study of values, masterpieces, in short, of sublime painting, which, of -an apparent modesty, are, notwithstanding, magical works, spontaneous -creations, which shew neither exertion, weakness, nor weariness, and -which seem to us the result of an art serene and calm, contrary to the -influences of great idealistic conceptions, but which, essentially -objective, reproduce the natural with a truth which is unsurpassed. - -In the exhibition at Burlington House Velázquez was not adequately -represented. But there were reasons for this. The undoubted pictures -from his brush which are privately owned in England, and to some of -which we have already alluded, are well-known and have figured in recent -exhibitions of Spanish art, so that it was not deemed necessary to -expose them again; while of those in Spain, the greater part is housed -in the Prado Museum (and could not of course be sent to England), and -those belonging to private persons are very scarce. - -The examples from English collections were the magnificent portrait of -_Juán de Pareja, the Painter_, from Longford Castle; the bust of _A -Spanish Gentleman_, the property of the Duke of Wellington; -_Calabacillas_, _the Buffoon_ (Plate IX.) which has recently passed into -Sir Herbert Cook’s collection; _The Kitchen Maid_, in Sir Otto Beit’s -collection--all representative of a period of the artist--as well as the -portrait of _Don Baltasar Carlos, Infante of Spain_, which His Majesty -the King of England lent from Buckingham Palace. - -Of this last special mention must be made. In our judgment it is an -undoubted Velázquez and, moreover, a most beautiful example. Every part -of the armour, of the legs, of the body, and, above all, the adjustment -of the figure and the design are typical of Velázquez. How has it come -to be regarded in England as a work of Mazo, where the master is so -justly esteemed and where, owing, doubtless to enthusiasm for Velázquez, -nearly all the pictures of Mazo are attributed to Velázquez? Or is it -that some have arrived at false conclusions concerning Mazo and -Velázquez, and when they are confronted by an original and undoubted -Velázquez, are dubious of it because it does not appear sufficiently -typical of Mazo? It has not, to the best of our belief, elsewhere been -observed that the head of this portrait is somewhat faint and flat. - -From Spain there were sent _The Hand of an Ecclesiastic_, lent by His -Majesty the King of Spain, a fragment, without doubt, from a portrait of -which the remainder was lost in the burning of the Alcazar of Madrid. -The special interest of the said fragment is that the hand holds a paper -on which is the signature of Velázquez, assuredly, one of the three -authentic signatures of this artist which remain to us, the others being -found on the portrait of _Philip IV_, in the National Gallery, London, -and that of _Pope Innocent X_, in the Doria Gallery at Rome. Concerning -the portrait of _Pulido Pareja_ in the National Gallery, London, we have -already written at some length on another occasion, with the intention -of proving that this portrait is by Mazo, and that the signature is -consequently apocryphal. The _Portrait of the Artist_, from the Fine Art -Museum, Valencia, is a beautiful example, if somewhat damaged and -blackened, and the other three works shown have been more frequently -exhibited and studied than those which are of undoubted authenticity. -Among others of outstanding interest is the _Head of a Cleric_, the -property of the Count of Fuenclara, which, although its attribution is -not unquestioned, is remembered above all as a beautiful piece of work. - - * * * * * - -We must now commence the rather complex study of those paintings which -compose the Madrid School. We say complex, because, composed as it was -of painters who came from one or the other part of the Peninsula, it -does not possess a precise and regional character, but is the resultant -of the work of many artists whose names we must not forget, as, for -example, Carducho, Caxes and Nardi, of Italian origin, who, or perhaps -their fathers, were brought to Spain as decorative painters. It seems -natural that they should have had imitators or disciples, as it was -precisely in the country of their adoption that artists of this genre -were awanting. But, on the contrary, they were absorbed by the -environment, and produced and achieved a sober and realistic style, -forgetful of the circumstances of their apprenticeship, and, we may say, -hispanicised. - -Velázquez was the chief representative of the Madrid school, its -creator, and, more, its prototype, marking the apogee of Spanish -painting. His aim was always to simplify, a purpose which is clearly -obvious from the methods he employed from his youth to his last work, -constantly simplifying his technique and, consequently, his palette. To -the study of his palette alone we have dedicated a work of a purely -technical character (of which THE STUDIO of November 1920 printed an -extract) which space does not permit us to reproduce here, but which we -take occasion to refer to since the simplification of the palette of -this artist, the creator of a school, must be regarded as of -exceptional importance, as characteristic of almost all later Spanish -artistic achievement, endowing it with great individuality and -distinguishing it from all other schools. This circumstance is worthy of -recognition by all who wish to arrive at the true significance of -Spanish painting, so far as its outward manifestations are concerned. - -Before dealing with the continuators of Velázquez, we must briefly refer -to painting in Andalusia, where Murillo appears as a great force in -Seville, years after Velázquez had been so in Madrid. Murillo, at first -a disciple of his kinsman Castillo, was soon afterwards a follower of -Pedro Moya. The painter passed during his youth through a whole gamut of -influences, that of Van Dyck especially, alternating at times with that -of Ribera. At twenty-four he was in Madrid, where Velázquez worked and -taught, though only for a short time. When he returned to Seville he did -not forget the lessons of Velázquez, and from this period date those -popular figures, full of character, which began to bring him fame. -Later, Murillo altered his methods, and for the rest of his life -employed a style suave and soft as the Andalusian accent, graceful and -suggestive. His religious works, his _Virgins_, and, above all, his -_Conceptions_ were soon famous, and, an incessant worker, he left a -multitude of paintings which bear a personal and unmistakable stamp, and -reveal an adequate technique, ample in treatment, in a tonality of -varying greys, warm and glowing and without exaggeration. - -But in truth the art of Murillo is of less interest than formerly, owing -to present-day preferences, which seek spirituality in art, a force and -even a restlessness which we do not find in the work of this artist. But -his fame in his own day was very great, and for a long time he was -considered as the foremost of Spanish painters. What gave him such a -great reputation? The illustrious Spanish critic, Señor Cossío, has -asked the same question regarding the causes underlying a style so -direct and simple. Murillo’s subject-matter, says Señor Cossío, in the -background as in the thing portrayed, represents always the soft and -agreeable side of life. In the sphere of spontaneous creation, in that -which does not require profundity, nor reflection, Murillo always exerts -an irresistible attraction. His _Conceptions_ are beautiful but -superficial. There is in them no more skilful groundwork, dramatic -impulse, nor exaltation than appears at first sight. To comprehend and -enjoy them it is not necessary to think, their contemplation leaves the -beholder tranquil, they do not possess the power to distract, they have -no warmth, nor that distinction which makes a work unique, and as they -hold just that degree of cultured mediocrity which in thought and -feeling is the patrimony of the majority of people, they are able to -please accordingly. If there be added to this a pious and poetic -sentiment and the celestial and suave expression of his figures, it is -easy to understand the great, indisputable and just popularity which -Murillo has enjoyed. Velázquez thought profoundly, but with ideality; -Murillo has not idealism, nor is he profound. Both are realists, and if -one represents the masculine feeling in Spanish painting, the other -shows at its highest the feminine tendency. - -At the Royal Academy seven pictures of Murillo, some of real importance, -were shown. Amongst these religious subjects predominated, _San Leandro_ -and _San Buenaventura_, from the Museum of Seville, and _The Triumph of -the Holy Eucharist_, lent by Lord Faringdon. Among the portraits were -that of the artist, the property of Earl Spencer; _Gabriel Esteban -Murillo_, sent by the Duke of Alba and Berwick; and _Don Diego Félix de -Esquivel y Aldama_, from a private collection in Madrid. - -In alluding to the Sevillean school, we must mention a contemporary of -Murillo, though somewhat his junior, of singular talent. His name is -little known outside of Spain, and this is doubtless the reason why so -few of his pictures have left the country. We believe it a mistake to -allude to him, as is sometimes done, as one of those Spanish painters -whose work is no longer of interest, such is his expression, his -distinctive note, his creative boldness and individuality. We refer to -Valdes Leal. His harsh outlook, his frequent inaccuracies, his thought, -profound and almost always obscure, and above all, his subjects, at -times macabre and bizarre, at times graceful, provide reasons for his -unpopularity, no less than the still scanty knowledge we possess -regarding this singular man, the circumstances of whose work and life -are presented to us almost in a legendary manner, as in the case of his -friend and patron, Don Juán de Mañara, who has been incarnated in the -popular imagination as the Don Juán of tradition. - -In Granada, Alonso Cano, as great a sculptor as painter, maintained, -with other artists of lesser note and standing, a flourishing school -which had links with that of Seville. - - * * * * * - -We turn again to Madrid, to the Court where Velázquez, as we have -indicated, stamped such character on painting and informed it with such -excellence that artists flocked from all parts of the Peninsula to the -capital. This resulted in the flourishing period of art--ending with the -seventeenth century--fruitful and various, which is associated with the -School of Madrid. It is not precisely the school of Velázquez, although -equivocally so called. Velázquez had disciples who followed him, -imitating and copying him, as his servant Pareja, the mulatto, did. But -this notwithstanding, other painters of talent worked during these -years in the capital, helping to form the school, even if they did not -follow him in any decided manner. Nevertheless, he is its greatest -figure, for he it was who gained the title of a school for the work of -his contemporaries, and for the generation which followed him. The -impulse which he gave by his technique and the composition of his -palette, simple and sober, are characteristic of all this period. His -son-in-law, Mazo, followed him blindly, and, working in his studio, was -constantly impressed by the productions of his master, making use of the -same methods--the same canvas, colours, brushes, and, giving rein to an -extraordinarily imitative talent, he tried to make, and occasionally -produced, actual facsimiles of his master’s works. The study of this -curious problem of painting, of the distinctive note, the inclination of -the time, as shown in the art of father-in-law and son-in-law, has been -the subject of several works from our pen. We have not insisted on the -point in these, nor have we space to do so in this brief synthesis; but -we flatter ourselves that several paintings, especially those which -belong to museums, have come to be more correctly attributed to Mazo -rather than to Velázquez, and that those who are interested in these -problems have come to distinguish the external aspect of the work of the -one from that of the other, substantial and inimitable. We must remark, -however, that Mazo had, besides the mere qualities of an imitator, a -talent of his own of singular excellence, that of a landscape painter, -which represented a relative novelty in the art of Spain at that period. - -After Velázquez the most important painter of the School of Madrid is, -beyond dispute, Carreño. Though his religious canvases are numerous, -Carreño was, above all, a portrait painter. The relative influence of -the work of Van Dyck, which extended as far as Seville, also reached -Madrid, and Carreño came under it at times and discreetly made use of -it. We say discreetly, for he had lost his national qualities. He -borrowed from Velázquez the basic colours of his palette, but sought to -enrich them with certain warm, golden tones, and he was enamoured of -russets and, above all, of carmines, generally those which approximate -to the colouring of the Flemings, but which appear cloying beside the -works of Van Dyck. The portraits by Carreño were represented at the -exhibition by that of _A Young Lady_ (Plate XXII), belonging to the Duke -of Medinaceli, which might almost be described as a black-and-white from -its colouring and the evident purpose of the artist to preserve this -tonality throughout the work; that of _The Queen of Spain, Doña Mariana -de Austria_, the property of Don Ramón de la Sota, a most beautiful -example, from which, without doubt, have been taken the many repetitions -which are known of it besides other variants; and that of _The -Marchioness of Santa Cruz_, which is of great importance and very -characteristic. Of religious pictures it is necessary to mention _The -Apparition of the Virgin to Saint Bernard_, sent from Bilbao by Don -Antonio Plasencia. - -The two brothers Rizi, Juan and Francisco, were of Italian origin; both -were decorative painters and worked in the style of Carducho and Caxes. -Juan, the elder, was a monk, and was one of the prototypes of the School -of Madrid, following Velázquez in his work, soberly and simply. -Francisco seems at times to display the qualities of his Italian origin, -and though sufficiently Spanish, gave to his creations a certain quality -which may have influenced the Spanish decorative painters of the time. -It is a curious problem of influence. In any case this artist, who -achieved fame in his time, is an interesting study to-day, and it would -seem that the critic must scrutinize the beginnings of the question -before he tries to explain its results. Pereda, Collantes and Leonardo -are also notable, if lacking the character of their school, which -clearly shows them to be among the disciples of Carreño, among whom, -perhaps, the most notable were Cerezo and Cabezalero, who unfortunately -died young. Cerezo seems to be the most striking figure of those years, -and his brilliant colour and fine style initiated a tendency which made -for the enrichment of the Spanish palette, the sobriety of which we -admire in the masters, but which degenerates into a certain poverty at -times in the hands of their disciples. With Cerezo we should mention -Antolínez, who also died before he reached artistic maturity. - -We now reach that era of painting which flourished at the Court of Spain -during the remainder of the seventeenth century. A long list of names of -artists could be made, all estimable and some remarkable, who exhibited -the proverbial vigour and picturesque temperament of the race, which, -skilfully directed, and having received a noble and traditional -tendency, commenced its onward progress without faltering. We mention, -however, only Claudio Coello, who seems to close this period. A disciple -of Rizi, whose decorative tendency he followed, he was more an artist in -a general sense than a portrait painter, and above all he produced many -religious subjects. By his work _The Sacred Form_, which is kept in the -Escurial, he seems to be sealed to the School of Madrid. This picture is -obviously a result of the atmosphere and the taste of the period in its -fidelity to character and its happy solution of problems of perspective -and effects of light. - - * * * * * - -For Spain the eighteenth century was a period of misfortune. The reasons -for this are simple and evident. Grace and good taste--in the best sense -of the term--lightness, came to be the characteristics of this century, -and these qualities were displayed in a perfect manner in French art. -And it was precisely these attributes which Spanish artists most -lacked, and still lack. They are robust, strong and sincere, but without -gracefulness, facility of expression or volatility. _A propos_ of this, -it must be recalled that Spanish artistic expression appears to have -been more or less influenced in its development by foreign tendencies -which were allowed to work freely and with absolute spontaneity. The -eighteenth century was a period in which the most powerful external -influences, especially the French, the least adaptable to the Spanish -temperament, had full play. These external influences were wholly -ordained by the rule of the House of Bourbon, and incarnated in the -first of its monarchs, Philip V, nephew of Louis XIV, who, doubtless -meaning well, seemed to think it possible to transplant Versailles, with -its marvellous spirit and exquisite culture, to the Castilian cities, -which were still dominated by the sobriety and asceticism of the mystics -of past centuries. - -As regards painting, these influences commenced with the arrival at the -Court of Lucas Jordán, who represented the influence of the great -Italian decorative artists. Afterwards came Tiépolo, who left many -marvellous works, quite inimitable by Spanish artists. The Bourbons -introduced Van Loo, Ranc, Houasse and other French representatives of -the art of the time; and lastly came Mengs, bringing with him a spirit -wholly distinct from that of the French, a style erudite and academic -which was not sufficiently powerful to create an artistic output of any -importance in Spain, but which possessed much destructive power, -although that was limited as regards time to about a century, during -which period the national production was weak, despite the number of -artists, of whom those most worthy to be mentioned are Maella, the -Bayeus and Paret. - -Such was the condition of Spanish painting when, without precedent, -reason or motive, appeared in the province of Aragon, a region which -years afterwards came to typify the resistance to foreign invasion, a -figure of great significance in Spanish art, and worthy of comparison -with the greatest masters of the preceding centuries--Francisco de Goya. - - * * * * * - -The long life of Goya coincides with an epoch which divides two ages. -The critic is somewhat at a loss how to place his work and personality, -to conclude whether he is the last of the old masters or the first of -the moderns. His greatness is so obvious, his performance so vast and -its gradual evolution so manifest, that we may be justified in holding -that the first portion of his effort belongs to the old order of things, -while the second must be associated with the origins of modern painting. -In his advance, in the manner and development of it, it is -noticeable--as we have already said in certain of our works which deal -with Goya--that he substituted for the picturesque, agreeable and -suggestive note of his younger days, another more intense and more -embracive. It would seem that the French invasion of the Peninsula, the -horrors of which he experienced and depicted, influenced him profoundly -in the alteration of his style. There is a Goya of the eighteenth -century and a Goya of the nineteenth. But this is not entirely due to -variation in technique, to mere artistic development, it is more justly -to be traced to a change in creative outlook, in character, in -view-point, which underwent a rude and violent transformation. Compare -the subjects of his tapestries or of his festive canvases, joyful and -gallant, facile in conception and at times almost trivial, with the -tragic and macabre scenes of his old age, and with the drawings of this -period and the compositions known as “The Disasters of War.” - -His spirit was fortified and nourished by the warmth of his imagination, -and assisted by an adequate technique, marvellously suited to the -expression of his ideas, he produced the colossal art of his later -years. If his performance is studied with reference to the vicissitudes -and the adventures of which it is eloquent, the influence upon his works -of the times in which they were created is obvious. The changes in his -life, the transference from those gay and tranquil years to others full -of the horrors of blood and fire, of shame and banishment, tended, -without doubt, to discipline his spirit and excite his intelligence. His -natural bias to the fantastic and his tendency to adapt the world to his -visions seized upon the propitious occasion in a time of invasion and -war to exalt itself, or, as he himself expressed it, “the dream of -reason produces prodigies.” - -An artist and creator more as regards expression than form, especially -in the second phase of his work, unequal in achievement and at times -inaccurate, he sacrificed much to divest himself of these faults. He -deliberately set himself to discipline his ideas and develop that degree -of boldness with which he longed to infuse them. But he was not quite -able to subject himself to reality, and, as he was forgetful and -indolent, that which naturally dominated him began to show itself in -quite other productions of consummate mastery. This art, imaginative in -expression and idea, is more striking as regards its individual and -original qualities, than for any degree of discipline which it shows. - -To follow Goya throughout the vicissitudes of his long life is not a -matter of difficulty. The man to whom modern Spanish art owes its being -was born in the little village of Fuendetodos and lived whilst a child -at Saragossa. He came to Madrid at an early age, and before his -thirtieth year went to Rome with the object of perfecting himself in his -art. But he failed to obtain much direction at the academies in Parma, -and having but little enthusiasm for the Italian masters of that time, -returned to Spain, settling at Madrid. Until this time the artist had -not evinced any exceptional gifts. Goya was not precocious. The first -works to assist his reputation were a series of cartoons for tapestries -to be woven at the Royal Factory. They were destined for the walls of -the royal palaces of Aranjuez, the Escurial and the Prado, which Carlos -IV desired to renovate according to the fashion of the time. These -works, which brought fame to Goya, showed two distinctive qualities. One -of them evinces the originality of his subjects, in which appear -gallants, blacksmiths, beggars, labourers, popular types in short, who -for the first time appeared in the decoration of Spanish palaces and -castles, which, until then, had known only religious paintings, military -scenes, the portraits of the Royal Family and stately hidalgos. Goya, in -this sense, democratized art. The other note to be observed in his work -is a certain distinction of craftsmanship, the alertness which it -reveals, which is, perhaps, due to the lightness of his colouring. On -canvases prepared with tones of a light red hue, which he retained as -the basis of his picture, he sketched his figures and backgrounds with -light brushes and velatures, retaining, where possible, the tone of the -ground. This light touch, rendered necessary by the extensive character -of the design and the rapidity with which it had to be executed, gave to -the artist a freedom and quickness in all he drew, and from it his later -works, much more important than these early essays though they were, -profited not a little. - -Already during these earlier years he had commenced to paint portraits -which did much to enhance his reputation, and shortly afterwards he -entered the royal service as first painter to the Court, where he -addressed himself to the execution of that vast collection of works of -all kinds which arouse such interest to-day. The list is interminable -and embraces the portraits of Carlos IV and of the Queen Maria Louisa, -those of the members of the Royal Family, of all the aristocracy, of the -Albas, Osunas, Benaventes, Montellanos, Pignatellis, Fernán-Núñezs, the -greatest wits and intellectuals of the day, especially those of -Jovellanos, Moratin, and Meléndez Valdés, three men who profoundly -influenced the thought of Goya in a progressive and almost revolutionary -manner, in spite of his connection with the Court and the aristocracy. -He also painted many portraits of popular persons, both men and women, -among whom may be mentioned La Tirana, the bookseller of the Calle de -Carretas, and that most mysterious and adventurous of _femmes galantes_ -of whom, now clothed, now nude, the artist has bequeathed to us those -souvenirs which hang on the walls of the Prado Museum. In these the -artist has for all time fixed and immortalized the finest physical type -of Spanish womanhood, in which an occasional lack of perfect proportion -is compensated for by elegance, grace, and unexaggerated curve and -figure, without doubt one of the most exquisite feminine types which has -been produced by any race. Besides these, the artist produced many -lesser canvases containing tiny figures full of wonderful grace and -gallantry, and having rural backgrounds, frequently of the banks of the -Manzanares, and others of larger proportions and scope, among the most -excellent of which is that of the family of Carlos IV, treasured in the -Prado Museum as one of its most precious jewels. Along with _The Burial -of the Count of Orgaz_ (Plate V.) and _Las Meninas_ (Plate X.), this -picture may be regarded as the most complete and astonishing which -Spanish art has given us. It is not a “picture” in the ordinary sense of -the word, but an absolute solution of the problem of how colour -harmonies are to be attained, and a most striking essay in -impressionism, in which an infinity of bold and varied shades and -colours blend in a magnificent symphony. - -Goya, triumphant and rejoicing in a life ample and satisfying, received -on all sides the flatteries of the great, and, caressed by reigning -beauties, lived in the tranquil pursuit of his art, which, though -intense, was yet graceful and gallant, and, as we have said, still -adhered to the manner of the eighteenth century, when a profound shock -agitated the national life--the war with Napoleon and the French -invasion. The first painter to the Court of Carlos IV, a fugitive, deaf, -and already old, life, as he then experienced it, might have seemed to -him a happy dream with a terrible awakening. His possessions, his -pictures, and his models were dispersed and maltreated; the Court seemed -to have finished its career, for his royal master was banished by force, -many of the nobility were condemned to death, and Countesses, Duchesses -and Maids of Honour vanished like the easy and enjoyable existence he -had known. Above all, Saragossa, that heroic city, beleaguered on every -side, was closed to him; a depleted army defended the strategical points -of the Peninsula, and the people--the people whom Goya loved and who had -so often served him as models for his damsels, his bull-fighters, his -wenches, his little children--were wandering over the length and breadth -of Spain, only to be shot as guerillas and stone-throwers by the -soldiers of Napoleon. It was at this moment that the true development of -the artist began. The painter, like his race, was not to be conquered. -The old Goya remained, strong in the creation of a lofty art. The last -twenty years of his life were full indeed, and represented its most -vigorous phase, the most energetic in the whole course of his -achievement. Scenes of war and disaster occupied almost the whole of -this important period, full of a profound pessimism, which still does -not lack a certain graceful style, and displays unceasingly some of the -saddest thoughts which man has ever known. These works of Goya are not -of any party, are not political nor sectarian. They are simply human. -For his greatness is all-embracive and his might enduring. Typical of -his work in this last respect are _The Fusiliers_, of 1808, and his -lesser efforts, those scenes of brigandage, madness, plague and famine -which occur so frequently in his paintings during the years which -followed the war. - -We do not mean to make any hard and fast assertion that Goya would not -have developed in intensity of feeling if he had not personally -experienced and suffered the horrors of the invasion, but merely to -indicate that it was this which brought about the revulsion within him -and powerfully exalted him. His last years in Madrid, and afterwards in -Bordeaux, where he died, were always characterized by the note of -pessimism, and at times, of horror, as is shown in the paintings which -once decorated his house and are now preserved in the Prado Museum. Not -a few portraits of these years also show that the artist gained in -intensity and in individual style. It is precisely these works, so -advanced for their time and so progressive, that provided inspiration to -painters like Manet, who achieved such progress in the nineteenth -century, and who were enamoured of the visions of Goya, of his technique -and his methods, naturalistic, perhaps, but always replete with -observation and individual expression. - -We must not forget to mention that Goya produced a decorative -masterpiece of extraordinary distinction and supreme originality--the -mural painting of the Chapel of St. Antonio of Florida, in Madrid. Nor -is it less fitting to record his fecundity in the art of etching, in -which, as in his painting, it is easy to observe the development of -their author from a style gallant and spirited to an interpretation of -deep intensity, such as is to be witnessed in the collection of “The -Caprices” and “The Follies,” if these are compared with the so-called -“Proverbs” and especially with “The Disasters of War.” - -The pictures representing Goya at Burlington House were composed of some -twenty works. Among those which belonged to his first period were the -portraits of the Marchioness of Lazan, the Duchess of Alba, lent by the -Duke of Alba, “La Tirana,” from the Academy of St. Fernando, the -Countess of Haro, belonging to the Duchess of San Carlos, four of the -smaller paintings of rural scenes, the property of the Duke of -Montellano, and _An Amorous Parley_ (“Coloquio Galante”), the property -of the Marquis de la Romana, the prototype of the Spanish feeling for -gallantry in the eighteenth century. As representative of the second -phase, of that which holds a note intense and pessimistic, may be taken -_A Pest House_, lent by the Marquis de la Romana, and those truly -dramatic scenes, the property of the Marquis of Villagonzalo. - -Of portraits of the artist by himself two were exhibited, one small in -size painted in his youth (Plate XXVI.), in which the full figure is -shown, and the other a head, done in 1815, which gives us a good idea of -the expression and temperament of this extraordinary man. - -The influence of the art of Goya was not immediate. A contemporary of -his is to be remembered in Esteve, who assisted him and copied from him. -Later, an artist of considerable talent, Leonardo Alenza, who died very -young and had no time to develop his art, was happily inspired by him. -With regard to Lucas, a well-known painter whose production was very -large, and who flourished many years later, and is now known to have -followed Goya, he can scarcely be considered as one of his continuators, -but rather as an imitator--by no means the same thing. For he imitated -Goya, as, on other occasions, he imitated Velázquez and other artists. -Lucas is much more praiseworthy when he follows his own instincts and -does original work. His picture _The Auto de Fé_, the property of M. -Labat, which was shown at the London exhibition in the room dedicated to -artists of the nineteenth century, is one of the best that we know of -from his brush. - - * * * * * - -If the eighteenth century was for Spanish painting an epoch of external -influences, the nineteenth century, especially its second half, must be -characterized as one which sought for foreign direction. During this -period the greater number of painters of talent sought for inspiration -from foreign masters. This was a grave mistake, not because in Spain -there were artists of much ability or even good instructors, but because -this exodus of Spanish painters was a sign that they had lost faith and -confidence in themselves and were strangers to that native force which -in the end triumphs in painting as in everything else. First Paris, then -Rome, the two most important centres of the art of this period, were -undoubtedly centres of a lamentable distortion of Spanish art. - -The organizing committee did not wish the London exhibition to be -lacking in examples of this period of prolific production, to which they -dedicated a room in which were shown examples of the painters of the -nineteenth century. We mention some of the many artists of talent of the -Spain of those days, and indicate their individual characteristics; but -we are unable to allude to their general outlook and the -characterization of their schools, which we do not think existed among -them to any great extent. - -The most famous painter who succeeded Goya was Vincente López, better -known for his portraits than for his other canvases, a skilful artist -with a perfect knowledge of technique, conscientious, fecund, minute in -detail, who has left us the reflection of a whole generation. - -Classicism arrived in Spain with all the lustre of the triumphs of Louis -David, under whose direction José de Madrazo placed himself, the first -of those artists of this type to maintain a position of dignity -throughout three artistic generations. He held an important place among -contemporary painters at a difficult time during which, in consequence -of the political disorder which reigned, the commissions usually given -by the churches and religious communities ceased, private persons -acquired few paintings, and the academies decreased in the number of -their students. It was a time in which art offered but little -wherewithal to its votaries. - -But this period of paralysis was of short duration. The pictorial -temperament, which inalienably belongs to Spain, and the appearance of -romanticism, with a tendency conformable to the spirit of Spain, and -which had for a long time given a brilliant impulse to her men of -letters, revived painting, which forgot its period of exhaustion. The -frigid classicism, ill-suited to the national genius, now passed away. -José de Madrazo was succeeded in prestige and surpassed in ability by -his son Federico de Madrazo. By his portraits he has bequeathed to us -faithful renderings of all the personages of his day, which compete with -those of the greater foreign portrait painters among his contemporaries. - -Studying at first under classical influences, but regarded as romantics -in their later development, were remarkable portrait painters like -Esquivel and Gutiérrez de la Vega, and a landscape painter of especial -interest, Pérez Villamil, who may in a manner be compared to the great -English landscape painter Turner, though he had no opportunities for -coming in contact with him or any knowledge of his work. Both men, each -in his own environment, breathed the same atmosphere; and, although -reared in lands remote from one another, thought in a like manner -because they both reflected the period in which they lived. Becquer and -others adequately maintained the descriptive note which now entered into -the making of popular subjects. - -Such was the condition of painting in Spain when there appeared the -fruitful and extraordinarily popular _genre_ of historical painting. In -its origin it was not Spanish but was introduced from other countries, -especially from France; but its Spanish affinities are manifest in its -examples, most of which are canvases of great size, imposing, dramatic, -and, in general, effective. - - * * * * * - -In this period culture, which in Spain had formerly been the preserve of -a limited class, now spread itself more widely, and in the sphere of art -was greatly fostered by exhibitions of painting, open to all and sundry, -without distinction of social status. Pictures and sculpture, which in -other times had been dedicated solely to art and to religious piety, the -possessions of kings and grandees, now came into public view, were -alluded to in publications of all kinds, and the people, enthusiastic -and critical, were brought face to face with their native art. Many -artists, perceiving this, hoped to gain popular applause, and -consequently worked upon their subjects as seemed most agreeable to the -masses. The historical picture in such circumstances seemed to offer the -greatest possibilities for achieving a popular reputation. - -Gisbert painted the popular heroes of the past and was regarded as the -representative of those revolutionary tendencies in art which were to -triumph several years later. Alisal, Mercade, Palmaroli, Luis Alvarez, -careful and excellent artists, painted both historical and _genre_ -pictures. From this group arose a most remarkable figure who died whilst -still very young, but who has left us a most striking example of his -workmanship. This was Eduardo Rosales, the painter of _The Death of -Isabel the Catholic_. Rosales represented the Spanish tradition in -painting. Averse to foreign influences, he studied and found in the -great masters the sources of his art, and his works, both in Spain and -beyond it, excited the greatest interest in his time. The picture above -mentioned, sober and simple in style, though it must be classed as -_genre_ painting, has still many admirable and enduring qualities. The -pity is that this group of artists did not follow him; for, flattered by -the public acclamation, they entered upon the second period of -historical painting, less effective than the first and always -conventional, which lasted many years, indeed almost to the present -time. For an atmosphere inimical to the traditions of Spanish painting -arose, in which this type of historical composition flourished at a time -when it had been condemned and forgotten in other countries, where it -was forced to give place to those tendencies in which modern painting -had its origin. - -Rigurosamente, a contemporary of Rosales, was another exceptional artist -of unusual gifts, likewise Mariano Fortuny, who unfortunately died in -his youth. Fortuny, though he may appear quite otherwise to-day, was in -his own time considered a progressive innovator. When he visited Madrid -for the first time, drawn thither by youthful enthusiasm, he did so with -no other idea than that of copying from Velázquez. But seeing in the -Prado Museum the works of Goya, which were totally new to him, he -received a revelation. He copied from Goya, and later, going to Africa, -he painted many studies and pictures replete with light. Light as a -pictorial factor, as an element in a picture, the study of light, the -reflection of it in his own works--that is the progressive element which -we find in Fortuny. The rapid success of his first works, their triumph -in Paris and Rome, was due to an agreeable style, gracious in touch, -suggestive, which appealed to collectors and dealers. At the same time -we do not believe this to have been altogether his ideal, since a few -years before his death, which took place in his thirty-seventh year, we -see him betaking himself to the shores of Italy, where he made new -studies of light and air. Was it reserved to Fortuny to be one of those -of whom it will be said that he assisted the development of the study -of atmosphere and light? We firmly believe this to be so, but the work -of the critic has nothing to do with prophecy, and we must deal only -with that which Fortuny has left us, which is indeed sufficient. It must -not be forgotten in judging his work to-day that its defects, or what -seem to be its defects, were those of his time and were not personal, -and that what is personal to him was his good taste, his mastery, and a -series of innovations and bold essays in colour obvious to those who -study his works. Fortuny was not a Spanish painter in the sense that he -did not preserve the traditions of our School. He certainly took the -elements of his palette from Goya, but his traits of manner show no sign -of the typical qualities of Spanish painting. - -It is fitting to allude here to artists of different types and talents -in some of the cities of Spain, and others living abroad, who laboured -during the last years of the nineteenth century--the Madrazos, Raimundo -and Ricardo, sons of Don Federico de Madrazo, who studied under the -direction of Fortuny; Plasencia, Domínguez and Ferrán, who distinguished -themselves in work of a decorative character in the Church of Saint -Francisca the Great in Madrid; Pradilla and Villegas, who have obtained -the greatest triumphs during a long career; the brothers Mélida, Enrique -and Arturo, the first working in Paris for many years, and the second a -famous decorative artist; Egusquiza, painter and engraver; Moreno -Carbonero, who, more a historical and portrait painter, found a -popularity for his pictures inspired by episodes in literature, -especially those of Quixote, in which he has coincided with Jiménez -Aranda. We may also mention a group of artists, all of Valencia, a city -which in times past, as in the present, enjoyed notable artistic -prosperity: Sala, Muñoz Degrain, Pinazo Camarlench, José Benlliure and -many others. Nearly all of them were represented at the Exhibition at -Burlington House in the Salon set apart for the painters of this epoch. - - * * * * * - -In the second half of the nineteenth century the study of nature in the -form of landscape arose as a creed, the artist coming face to face with -the scene which he desired to transfer to his canvas. It has been said -“what the landscape is, so is he who praises it.” Until then the -landscape had been nothing but a background for a composition or figure, -and those who called themselves landscape painters, when they undertook -to paint a scene used it as a peg on which to hang poetical ideas, -embellishing it, but never treating it as a true rendering of nature. -Now the artist came to the country, felt the influence of nature, and -faithfully copied it. The object of his work was to be as natural as -possible, without embellishing or poetizing his subject, but to portray -it, as one might say. This was a new idea to the painters of the time. - -Pérez Villamil, a follower of romanticism in painting, also practised -landscape art in Spain until it underwent the change mentioned above -through the arrival of a Belgian, Charles de Haes, who succeeded Pérez -Villamil as professor of landscape at the School of Painting. Haes broke -with tradition. He would have no conventionalisms, no studied -compositions, nor preconceptions. He took his pupils to the country and -there told them to copy Nature herself, leaving them without any further -inspiration than that with which God had endowed them. To-day the -studies of this master and of his disciples, generally executed in -strong contrasts of light, seeking, doubtless, the effectiveness thus -produced, appear to us, although they have a sense of luminosity, poor -in colour, obscure and hard. But what progress is represented in them in -comparison with all former art! And it is clear that they express the -tendency which, modern in that time, everywhere governed the advance of -art. - -Shortly afterwards a Spanish landscape painter, not a disciple of Haes, -Martín Rico, a companion of Fortuny, but who, having lived longer than -he and reached a more mature age, advanced a further step in the art of -landscape painting. If the chief aim of this painter had not been the -rapid translation of his gifts into money, and had he not striven to -please the public, he might have achieved lasting fame. - -Casimiro Saiz, Muñoz Degrain--whom we have mentioned already as a -painter of the figure--Urgell, Gomar and others devoted themselves to -landscape; but the most salient examples of Spanish landscape painting -are to be found in the work of three artists who developed with the -rapid evolution of their time--Beruete, Regoyos and Rusiñol. Of these -three sincere and individual painters, Beruete, in his youth a disciple -of Haes, and later of Rico, evinced a very decided modern tendency. He -devoted the years of his maturity to the making of a large number of -pictures of Spanish cities, especially of Castile, paintings truthful -and sincere in character, and revealing a very personal outlook. Regoyos -was influenced by impressionism, to which he was strongly attracted, and -in the North of Spain he inspired many by his numerous works. Rusiñol -is, perhaps, more a poet than a painter. He still lives and works. He -used to find in the gloomy and deserted gardens of Spain subjects for -his pictures. One of the most remarkable figures in Catalonia to-day, -both as a litterateur and painter, he has also sought inspiration in the -scenes and countryside of this, his native province. - - * * * * * - -Spanish painting was completely modernized during the last years of the -nineteenth century. Three great international events took place during -that period--the three exhibitions in Paris of the years 1878, 1889 and -1900. At these Spanish painting was fully represented. At the first was -shown a varied collection of the works of Fortuny--one of the most -famous artists of his time--who had died shortly before. In the second -we experienced a rebuff, for a number of historical paintings of -enormous proportions, full of the inspiration of the past, were not -admitted, nor, indeed, were some of these worthy to hang in the -exhibition. But in the years between 1889 and 1900 the development of -Spanish painting was most marked, and in the last of the exhibitions -alluded to the Spanish salons revealed a high level of excellence and a -significant modernity. Moreover, there emerged the personality of a -young painter, hitherto unknown, who by unanimous consent was regarded -as well-nigh qualifying for the highest honours. This was a man whose -name shortly afterwards became famous throughout the world--Joaquín -Sorolla, one of those personalities who from time to time arise in Spain -quite unexpectedly. - -Sorolla, who was of humble origin, was born in Valencia, and in his -youth was naturally influenced by the paintings of the old masters in -his native city. He went to Madrid, later to Italy, and finally to -Paris, where his work of a wholly realistic character was admired, for -actuality was to this painter as the breath of life. A French advocate -of naturalism has said “one rule alone guides the art of painting, the -law of values, the manner in which the light plays upon an object, in -which the light distributes colour over it; the light, and only the -light is that which fixes the position of each object; it is the life of -every scene reproduced in painting.” This statement Sorolla seems to -have taken greatly to heart, even while he was still under the influence -of old traditions and standards of thought. - -Possessing a temperament of much forcefulness, and of great productive -exuberance, enthusiastic about the scenery of the Mediterranean, and -especially enamoured of the richness of colour of his native soil, the -ruddy earth planted with orange-trees, the blue sea and the dazzling -sky, Sorolla, oblivious of what he had done before, felt a powerful -impulse to paint that which was rich in colour, so greatly was he moved -by the eastern spirit. The coasts of Valencia, the lives of the -fishermen, those children of the sea, the bullocks drawing the boats, -the scenes beneath the cliffs and other analogous subjects, painted in -full sunlight--the sunlight of July and August for preference--these are -the subjects on which Sorolla laboured for several years, producing -canvas after canvas, now famous both in Europe and America. - -We do not say that this outlook is ideal, but the study of light and -atmosphere was a contribution to the history of modern art, and was -among the elements which will be handed down to posterity as the -original note of the painters of the last years of the nineteenth -century. Of these Sorolla was one of the most forceful, and we lay -stress upon his work, as in our judgment its importance demands especial -notice. We have not alluded to his great talent as a portrait painter, -nor to the decorative works which he has dedicated to the Hispanic -Society of America in New York, and which, although they are completed, -are not yet installed in place. Some few years after the appearance of -Sorolla, there arose almost simultaneously two Spanish painters of other -tendencies, equally noteworthy, and whose names are universally -known--Zuloaga and Anglada. Zuloaga must be regarded in a very different -manner from Sorolla. In no sense does he go to nature merely to copy it -in the manner in which it presents itself to our vision, but he seeks, -both in nature and humanity, for types, for characteristic figures of a -representative and realistic kind. His work has developed with -robustness and force, and attracts the attention of the modern critic -eager for characteristic and singular qualities. To his reception in the -universal world of art it is not necessary to allude here. The reviews -and periodicals of all countries have commented with praise upon the -achievements of this master, who is still busily at work, constantly -engaged in the representation of popular types in the characteristic -costume of many regions, especially his own people, the Basques, and the -Castilians, for whom he appears to have a special predilection. - -Those landscapes which he takes for the backgrounds of his pictures also -seem to be inspired by that love of character which animates all his -productions. In his latest phase, too, he has executed numerous -portraits of people of different social categories. In technique it is -noticeable that Zuloaga strives to preserve those tonalities which -characterize the Spanish School; and the study he has made of the works -of Velázquez and Goya is manifested in the lively reminiscences of these -masterpieces displayed at times in his pictures, which exhibit, -nevertheless, a relative modernity. - -Anglada is, in our view, completely distinct from Sorolla and Zuloaga. -Enamoured of the charm of colour, his work has no connection with -schools or traditions. Aloof from every influence, he aspires to nothing -so much as rich colour-schemes and harmonies, and seeks inspiration in -night-bound gardens, brightly illuminated, in subjects which reflect -electric light, and in figures which appear all the more distinct as the -background is often the sea beneath the radiance of the Mediterranean -light. These unusual sources of inspiration appear strange at first -sight; but it is noticeable that they manifest on the part of the -painter always the same idea of seeking for rich colouring. We must -regard Anglada as one of the most remarkable and most original of modern -painters. It is a great pity that he was not represented at Burlington -House. His absence, like that of Sert, the great decorative painter, -Beltran, Miguel Nieto and others, was accounted for by the fact that -the pictures were received too late to be included in the Exhibition. - - * * * * * - -The salons set apart for modern painting at the London Exhibition seem -to us to have been disposed and arranged with care. There were shown in -the first of these rooms works by Sorolla, his disciple Benedito, one of -the most esteemed portrait painters in Madrid, Zaragoza, Moisés, Carlos -Vázquez, and some landscapes by Rusiñol. The second room was in complete -harmony with the first, and in it we observed the works of artists, some -of whom are still young, but nevertheless masters of strong propensity -and perfect equilibrium; the great composition by Gonzalo Bilbao, _The -Cigar-makers_ (Plate XXXVII.); the striking portraits of Chicharro and -Sotomayor; the unmistakably Spanish canvases of Mezquita and Rodriguez -Acosta; and the picturesque and suggestive note of the Valencian figures -by Pinazo Martinez. - -The neighbouring room was dedicated to those who may be called painters -of character, for such was the exclusive note of all the works shown -there. It would not be easy to say who occupied the place of honour -here, Zuloaga, Romero de Torres, an artist of Cordova, who has tried to -create a type of female beauty famous throughout Spain, the brothers -Zubiaurre, peculiarly Basque in feeling, and now well known everywhere, -Salaverria, Ortiz Echagüe, Arrúe, Juan Luis y Arteta, a delicate and -emotional painter who has found on the Basque shores subjects for -pictures unusually simple, in which is displayed a delicacy of technical -expression together with the significance of an idea, inspired, like his -subjects, by a simple poetry. - -Following these, in still other rooms, were hung works similar in type, -but bolder, perhaps, such as those of Solana, whose three canvases, -painted in low tones, were of great interest and excited much remark in -the exhibition; Vázquez Díaz, so various in his subjects, but always -individual; Maeztu, the consistent exponent of a colossal and decorative -style; Castelucho, Urgell, Guezala; and Astruc y Sancha, who combines -caricature of consummate mastery with the painting of landscapes of -manifest originality. - -In another room were exhibited smaller landscapes. These included -examples of Rusiñol, Beruete, Regoyos, Meifren, Forns, Raurich, Colom, -Grosso and Mir. Among the work of other young painters of promise but as -yet little known, we must mention the seascapes of Verdugo Landi and -Nogue. - -The next salon, known as the Lecture Room, formed a kind of overflow for -the last, and contained pictures by Hermoso, Garnelo, Simonet, Morera, -Marin Bagües, Canals, Cardona, Villegas Brieva, Oroz, Madrazo-Ochoa, -Covarsi, Bermejo, and many other artists, a list of whom would be much -too extensive for inclusion here. - - * * * * * - -We do not think that the assertion that Spanish painting has been a -powerful factor in the history and development of universal art will be -regarded by anyone as a discovery, nor will such a statement appear as a -result of patriotic enthusiasm. Spanish painting to-day follows its -brilliant traditions; and although we believe this present period to be -one of gestation, it occasionally reveals qualities of splendour and -greatness. It is indubitably lacking in marked and decided outlook, but -it is, nevertheless, universally respected and suffers, at the most, -merely from the exigencies of the time. Moreover, not a few critics of -distinction in the Peninsula, who concern themselves with the study of -particular movements, see in it a tendency to the formation of regional -groups. The central one naturally has its focus in Madrid, and radiates -thence over the whole of Spain; but a large output is always forthcoming -from the cities of Seville and Valencia, which appear, by the light of -tradition, as the most brilliant centres of pictorial art. There are, -moreover, two other regions which have produced rich and flourishing -art--Catalonia and the Basque provinces, with their two capital cities, -Barcelona and Bilbao. - -Catalan art is no new thing in Spanish tradition, and is in a measure -descended from that which was formerly the art of the Kingdom of Aragon -before the national union. The Catalans have confined it entirely to -their territory, have cultivated it with enthusiasm, and have created a -Catalan school of Spanish Art. It is a great pity that they have not -tried to preserve a more national spirit and have frequently sought -inspiration from foreign sources, especially from France. But, this -notwithstanding, Catalan achievement is indeed most worthy of praise. - -The artistic production of the Basque provinces is forcible and -original. The Basques, with a scanty pictorial tradition, have shrewdly -sought for inspiration in the Spanish sphere without distinction of -locality, and have produced an art of undoubted interest. - -But apart from this there exists at the present time a movement of -worldwide character, which seems to have a literary origin and which -may, perhaps, be called, for want of a better name, the new spirit. -Though still in a chaotic state, this movement, varied in its aspects, -may in all lands be identified by an underlying intention to -revolutionize everything, creating a new æsthetic code and turning its -back on the past and on all tradition. - -It is not our intention to deal with this movement or to discuss its -importance. Spain does not appear to be the country best fitted to lead -it. Its history seems to show that while it is ready of acceptance, it -is not to be hurried in its advance; nor is it eager to seize upon -radical ideas. But this notwithstanding, it has painters who understand -and cultivate art of this kind, and it must not be forgotten that one of -the outstanding figures in the ultramodern movement is the Spaniard -Picasso, who has shown once more that in all phases of artistic effort -the Spanish temperament significantly reveals itself. - - A. DE BERUETE Y MORET. - - (_Translated by Lewis Spence_) - -[Illustration: PLATE I - -YAÑEZ DE LA ALMEDINA - -(_Collection of the Marquis de Casa-Arquedin, Madrid_) - -“ANTA CATALINA” (“SAINT CATHERINE”) -] - -[Illustration: PLATE II - -PANTOJA DE LA CRUZ - -(_Collection of H.M. The King of Spain_) - -“PHILIP II” -] - -[Illustration: PLATE III - -EL GRECO - -(_Collection of H.M. The King of Spain_) - -“LA GLORIA DE FELIPE II” -(“THE ‘GLORY’ OF PHILIP II”) -] - -[Illustration: PLATE IV - -EL GRECO - -(_Provincial Museum, Toledo_) - -“SAN PABLO” (“SAINT PAUL”) -] - -[Illustration: PLATE V - -EL GRECO - -_Photo: Moreno, Madrid_ - -(_Church of Santo Tomé, Toledo_) - -“EL ENTIERRO DEL CONDE DE ORGAZ” (DETAIL.) -(“THE BURIAL OF COUNT OF ORGAZ”) -] - -[Illustration: PLATE VI - -EL GRECO - -(_Prado Museum, Madrid_) - -“RETRATO DE UN CABALLERO” -(“PORTRAIT OF A NOBLEMAN”) -] - -[Illustration: PLATE VII - -FRANCISCO DE RIBALTA - -(_Fine Art Museum, Valencia_) - -“SAN PEDRO” -(“SAINT PETER”) -] - -[Illustration: PLATE VIII - -ZURBARAN - -(_Provincial Museum, Seville_) - -“EL BEATO DOMINICO ENRIQUE SUZON” -(“THE DOMINICAN, HENRY SUZON”) -] - -[Illustration: PLATE IX - -VELAZQUEZ - -(_Collection of Sir Herbert Cook, Bart._) - -“CALABACILLAS EL BUFON” -(“CALABACILLAS, THE BUFFOON”) -] - -[Illustration: PLATE X - -VELAZQUEZ - -_Photo: Anderson_ - -“LAS MENINAS” (THE MAIDS OF HONOUR)] - -[Illustration: PLATE XI - -VELAZQUEZ - -(_Prado Museum_, _Madrid_) - -“LAS MENINAS” (DETAIL) -(“THE MAIDS OF HONOUR”) -] - -[Illustration: PLATE XII - -VELAZQUEZ - -(_National Gallery, London. By permission of Messrs. Thos. Agnew & -Sons_) - -“VENUS Y CUPIDO” (“VENUS AND CUPID”) -] - -[Illustration: PLATE XIII - -VELAZQUEZ - -_Photo: Mansell_ - -(_National Gallery, London_) - -“PHILIP IV” -] - -[Illustration: PLATE XIV - -VELAZQUEZ - -“INFANTE BALTASAR CARLOS”] - -[Illustration: PLATE XV - -VELAZQUEZ - -_Photo: Anderson_ - -(_Prado Museum, Madrid_) - -“INFANTE BALTASAR CARLOS” (DETAIL) -] - -[Illustration: PLATE XVI - -VELAZQUEZ - -_Photo: Mansell_ - -(_Wallace Collection, London_) - -“LA DAMA DEL ABANICO” -(“THE LADY WITH A FAN”) -] - -[Illustration: PLATE XVII - -FRAY JUAN RIZI - -(_Collection of Sir Herbert Cook, Bart._) - -“UN CABALLERO JOVEN” -(“A YOUNG CAVALIER”) -] - -[Illustration: PLATE XVIII - -MURILLO - -_Photo: Anderson_ - -_Photo: Anderson_ - -(_La Caridad, Seville_) - -“MOISES TOCANDO LA ROCA” -(“MOSES STRIKING THE ROCK”) -] - -[Illustration: PLATE XIX - -MURILLO - -_Photo: Anderson_ - -(_La Caridad, Seville_) - -“EL MILAGRO DE LOS PANES Y LOS PECES” -(“THE MIRACLE OF THE LOAVES AND FISHES”) -] - -[Illustration: PLATE XX - -MURILLO - -_Photo: Anderson_ - -(_Provincial Museum, Seville_) - -“SAN FELIX DE CANTALISI Y EL NIÑO JESUS” -(“ST. FELIX OF CANTALISI AND THE INFANT CHRIST”) -] - -[Illustration: PLATE XXI - -MURILLO - -_Photo: Mansell_ - -(_Wallace Collection, London_) - -“LA CARIDAD DE SANTO TOMAS DE VILLANUEVA” -(“THE CHARITY OF ST. THOMAS OF VILLANUEVA”) -] - -[Illustration: PLATE XXII - -CARREÑO DE MIRANDA - -(_Collection of the Duke of Medinaceli, Madrid_) - -“RETRATO DE UNA DAMA” -(“PORTRAIT OF A YOUNG LADY”) -] - -[Illustration: PLATE XXIII - -CLAUDIO COELLO - -(_Collection of Don Aureliano de Beruete y Moret, Madrid_) - -“DON JUAN DE ALARCON” -] - -[Illustration: PLATE XXIV - -GOYA - -(_Collection of the Duke of Montellano, Madrid_) - -“EL COLUMPIO” -(“THE SWING”) -] - -[Illustration: PLATE XXV - -GOYA - -(_Collection of the Duke of Montellano, Madrid_) - -“LA CUCAÑA” (“THE GREASY POLE”) -] - -[Illustration: PLATE XXVI - -GOYA - -(_Collection of the Count of Villagonzalo, Madrid_) - -“AUTORRETRATO” -(“PORTRAIT OF THE PAINTER”) -] - -[Illustration: PLATE XXVII - -GOYA - -(_Fernan-Nuñez Collection, Madrid_) - -“CONDE DE FERNAN-NUÑEZ” (DETAIL) -] - -[Illustration: PLATE XXVIII - -GOYA - -(_Prado Museum, Madrid_) - -“INFANTE DON CARLOS MARIA ISIDRO” -] - -[Illustration: PLATE XXIX - -GOYA - -(_Private Collection, Madrid_) - -“LA CONDESA DE CHINCHOU” (DETAIL) -] - -[Illustration: PLATE XXX - -GOYA - -(_Collection of the Count of Villagonzalo, Madrid_) - -“EL DUQUE DE SAN CARLOS” -] - -[Illustration: PLATE XXXI - -EDUARDO ROSALES - -“MUJER SALIENDO DEL BAÑO” -(“WOMAN LEAVING THE BATH”) -] - -[Illustration: PLATE XXXII - -MARIANO FORTUNY - -(_Collection of Capt. Samuels_) - -“EL PATIO DE LA ALBERCA EN LA ALHAMBRA” -(“THE ALBERCA COURT IN THE ALHAMBRA”) -] - -[Illustration: PLATE XXXIII - -JOAQUIN SOROLLA - -“SALIENDO DEL BAÑO” -(“AFTER BATHING”) -] - -[Illustration: PLATE XXXIV - -IGNACIO ZULOAGA - -“LA SEÑORITA SOUTY” -] - -[Illustration: PLATE XXXV - -E. MARTINEZ VAZQUEZ - -“UNA ALDEA DE LA SIERRA DE GREDOS (AVILA)” -(“A VILLAGE IN THE SIERRA DE GREDOS (AVILA)”) -] - -[Illustration: PLATE XXXVI - -LUIS MASRIERA - -“SOMBRAS REFLEJADAS” (“REFLECTED SHADOWS”) -] - -[Illustration: PLATE XXXVII - -GONZALO BILBAO - -“LAS CIGARRERAS” (“THE CIGAR-MAKERS”) -] - -[Illustration: PLATE XXXVIII - -RAMON DE ZUBIAURRE - -“RETRATO DE MI ESPOSA” -(“PORTRAIT OF MY WIFE”) -] - -[Illustration: PLATE XXXIX - -JOSÉ PINAZO - -“CREPUSCULO” -(“TWILIGHT”) -] - -[Illustration: PLATE XL - -A. ORTIZ ECHAGÜE - -“SUPERSTICION” -(“SUPERSTITION”) -] - -[Illustration: PLATE XLI - -J. GUTIERREZ SOLANA - -“CARNAVAL EN LA ALDEA” -(“THE VILLAGE CARNIVAL”) -] - -[Illustration: PLATE XLII - -JOSE BENLLIURE GIL - -“HACIENDO BOLILLOS” -(“LACE-MAKING”) -] - -[Illustration: PLATE XLIII - -C. CASTELUCHO - -“NIÑOS GITANOS EN LA PLAYA” (“GIPSY CHILDREN ON THE BEACH”) -] - -[Illustration: PLATE XLIV - -JUAN CARDONA - -“ALTAR DE MAYO” -(“MAY ALTAR”) -] - -[Illustration: PLATE XLV - -F. ALVAREZ DE SOTOMAYOR - -“PAISANAS GALLEGAS” -(“GALICIAN PEASANT-WOMEN”) -] - -[Illustration: PLATE XLVI - -CARLOS VAZQUEZ - -“UNA DOLOROSA” -(“OUR LADY OF SORROWS”) -] - -[Illustration: PLATE XLVII - -JOSÉ Ma LOPEZ MEZQUITA - -“PILARCITA” -] - -[Illustration: PLATE XLVIII - -FRANCISCO SANCHA - -“UN PUEBLO ANDALUZ” (“AN ANDALUSIAN VILLAGE”)] - -[Illustration: PLATE XLIX - -JOSÉ DE MARTI GARCES - -“INTERIOR” -] - -[Illustration: PLATE L - -NICOLAS RAURICH - -“TERRUÑOS” -(“ROUGH GROUND”) -] - -[Illustration: PLATE LI - -JOSÉ R. ZARAGOZA - -“VIEJOS BRETONES” -(“OLD BRETONS”) -] - -[Illustration: PLATE LII - -CONDE DE AGUIAR - -“RETRATO DE UN TORERO” -(“PORTRAIT OF A BULLFIGHTER”) -] - -*** END OF THE PROJECT GUTENBERG EBOOK SPANISH PAINTING *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Spanish Painting</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Aureliano de Beruete y Moret</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: Geoffrey Holme</div> - -<div style='display:block; margin:1em 0'>Release Date: March 12, 2021 [eBook #64796]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Turgut Dincer, Chuck Greif and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK SPANISH PAINTING ***</div> -<hr class="full" /> - -<p class="figcenter"> -<a href="images/cover.jpg"> -<img src="images/cover.jpg" -height="550" alt="[Image of -the book's cover unavailable.]" /></a> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> -<p class="c"><a href="#LIST">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image will bring up a larger version.)</span></p> -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span> </p> - -<h1>SPANISH PAINTING</h1> - -<p class="cb"><big>TEXT BY A. DE BERUETE Y MORET</big><br /> -(DIRECTOR OF THE PRADO MUSEUM, MADRID)</p> - -<table border="0" cellpadding="4" cellspacing="0" summary="" -style="border:2px solid black;"> -<tr><td class="cb"><big>1921</big></td></tr> -</table> - -<p class="cb">EDITED BY GEOFFREY HOLME -“THE STUDIO,” <span class="smcap">Ltd.</span>, LONDON, PARIS, NEW YORK -</p> - -<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span> </p> - -<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span> </p> - -<h2><a name="LIST" -id="LIST"></a> -LIST OF ARTISTS WHOSE WORKS<br /> ARE REPRODUCED IN THIS VOLUME</h2> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> -<tr><th colspan="2">IN COLOURS</th></tr> -<tr><td> </td><td class="rt"><small>PLATE</small></td></tr> -<tr><td>El Greco (Domenico Theotocopuli)</td></tr> -<tr><td class="indd"><a href="#plt_III"><i>La Gloria de Felipe II (The “Glory” of Philip II)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_III">iii</a></td></tr> -<tr><td>Francisco de Ribalta</td></tr> -<tr><td class="indd"><a href="#plt_VII"><i>San Pedro (Saint Peter)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_VII">vii</a></td></tr> -<tr><td>Don Diego Rodriguez de Silva y Velázquez</td></tr> -<tr><td class="indd"><a href="#plt_XII"><i>Venus y Cupido (Venus and Cupid)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XII">xii</a></td></tr> -<tr><td>Francisco de Goya y Lucientes</td></tr> -<tr><td class="indd"><a href="#plt_XXIV"><i>El Columpio (The Swing)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXIV">xxiv</a></td></tr> -<tr><td>Joaquín Sorolla</td></tr> -<tr><td class="indd"><a href="#plt_XXXIII"><i>Saliendo del Baño (After Bathing)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXXIII">xxxiii</a></td></tr> -<tr><td>Luis Masriera</td></tr> -<tr><td class="indd"><a href="#plt_XXXVI"><i>Sombras Reflejadas (Reflected Shadows)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXXVI">xxxvi</a></td></tr> -<tr><td>José Pinazo</td></tr> -<tr><td class="indd"><a href="#plt_XXXIX"><i>Crepusculo (Twilight)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXXIX">xxxix</a></td></tr> -<tr><td>José Benlliure Gil</td></tr> -<tr><td class="indd"><a href="#plt_XLII"><i>Haciendo Bolillos (Lace-making)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XLII">xlii</a></td></tr> -<tr><td>Fernando Alvarez de Sotomayor</td></tr> -<tr><td class="indd"><a href="#plt_XLV"><i>Paisanas Gallegos (Galician Peasant-women)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XLV">xlv</a></td></tr> -<tr><td>Francisco Sancha</td></tr> -<tr><td class="indd"><a href="#plt_XLVIII"><i>Un Pueblo Andaluz (An Andalusian Village)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XLVIII">xlviii</a></td></tr> - -<tr><th colspan="2">IN MONOTONE</th></tr> -<tr><td>Hernando Yáñez de la Almedina</td></tr> -<tr><td class="indd"> -<a href="#plt_I"><i>Santa Catalina (Saint Catherine)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_I">i</a></td></tr> -<tr><td>Juan Pantoja de la Cruz</td></tr> -<tr><td class="indd"> -<a href="#plt_II"><i>Philip II</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_II">ii</a></td></tr> -<tr><td>El Greco (Domenico Theotocopuli)</td></tr> -<tr><td class="indd"> -<a href="#plt_IV"><i>San Pablo (Saint Paul)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_IV">iv</a></td></tr> -<tr><td class="indd"> -<a href="#plt_V"><i>El Entierro del Conde de Organ (The Burial of the Count of Orgaz)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_V">v</a></td></tr> -<tr><td class="indd"> -<a href="#plt_VI"><i>Retrato de un Caballero (Portrait of a Nobleman)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_VI">vi</a></td></tr> -<tr><td>Francisco de Zurbarán</td></tr> -<tr><td class="indd"> -<a href="#plt_VIII"><i>El Beato Dominico Enrique Suson (The Dominican, Henry Suson)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_VIII">viii</a></td></tr> -<tr><td>Don Diego Rodriguez de Silva y Velázquez</td></tr> -<tr><td class="indd"> -<a href="#plt_IX"><i>Calabacillas el Bufon (Calabacillas, the Buffoon)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_IX">ix</a></td></tr> -<tr><td class="indd"> -<a href="#plt_X"><i>Las Meninas (The Maids of Honour)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_X">x</a></td></tr> -<tr><td class="indd"><span class="ditto">”</span> <span class="ditto">”</span> <span class="ditto">”</span> <span class="ditto">”</span> (<i>detail</i>)</td> -<td class="rt" valign="bottom"><a href="#plt_XI">xi</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XIII"><i>Philip IV</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XIII">xiii</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XIV"><i>Infante Baltasar Carlos</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XIV">xiv</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XVI"><span class="ditto">”</span> <span class="ditto">”</span> <span class="ditto">”</span> (<i>detail</i>)</a></td> -<td class="rt" valign="bottom"><a href="#plt_XV">xv</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XVI"><i>La Dama del Abanico (The Lady with a Fan)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XVI">xvi</a></td></tr> -<tr><td>Fray Juan Rizi de Guevara</td></tr> -<tr><td class="indd"> -<a href="#plt_XVII"><i>Un Caballero Joven (A Young Cavalier)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XVII">xvii</a></td></tr> -<tr><td>Bartolomé Esteban Murillo</td></tr> -<tr><td class="indd"> -<a href="#plt_XVIII"><i>Moises tocando la Roca (Moses striking the Rock)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XVIII">xviii</a></td></tr> -<tr><td class="indd"> -<a href="#plt_"><i>El Milagro de los Panes y los Peces (The Miracle of the Loaves and Fishes)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XIX">xix</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XX"><i>San Felix de Cantalisi y el Niño Jesu (St. Felix of Cantalisi and the Infant Christ)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XX">xx</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XXI"><i>La Caridad de Santo Tomas de Villanueva (The Charity of St. Thomas of Villanueva)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXI">xxi</a></td></tr> -<tr><td>Don Juan Carreño de Miranda</td></tr> -<tr><td class="indd"> -<a href="#plt_XXII"><i>Retrato de una Dama (Portrait of a Young Lady)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXII">xxii</a></td></tr> -<tr><td>Claudio Coello</td></tr> -<tr><td class="indd"> -<a href="#plt_XXIII"><i>Don Juan de Alarcon</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXIII">xxiii</a></td></tr> -<tr><td>Francisco de Goya y Lucientes</td></tr> -<tr><td class="indd"> -<a href="#plt_XXV"><i>La Cucaña (The Greasy Pole)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXV">xxv</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XXVI"><i>Autorretrato (Portrait of the Painter)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXVI">xxvi</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XXVII"><i>Conde de Fernan-Nuñez (detail)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXVII">xxvii</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XXVIII"><i>Infante Don Carlos Maria Isidro</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXVIII">xxviii</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XXIX"><i>La Condesa de Chinchou (detail)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXIX">xxix</a></td></tr> -<tr><td class="indd"> -<a href="#plt_XXX"><i>El Duque de San Carlos</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXX">xxx</a></td></tr> -<tr><td>Eduardo Rosales</td></tr> -<tr><td class="indd"> -<a href="#plt_XXXI"><i>Mujer saliendo del Baño (Woman leaving the Bath)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXXI">xxxi</a></td></tr> -<tr><td>Mariano Fortuny</td></tr> -<tr><td class="indd"> -<a href="#plt_XXXII"><i>El Patio de la Alberca en la Alhambra (The Alberca Court in the Alhambra)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXXII">xxxii</a></td></tr> -<tr><td>Ignacio Zuloaga</td></tr> -<tr><td class="indd"> -<a href="#plt_XXXIV"><i>La Señorita Souty</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXXIV">xxxiv</a></td></tr> -<tr><td>Eduardo Martinez Vazquez</td></tr> -<tr><td class="indd"> -<a href="#plt_XXXV"><i>Una Aldea de la Sierra de Gredos (Avila) (A Village in the Sierra de Gredos, Avila)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXXV">xxxv</a></td></tr> -<tr><td>Gonzalo Bilbao</td></tr> -<tr><td class="indd"> -<a href="#plt_XXXVII"><i>Las Cigarreras (The Cigar-makers)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXXVII">xxxvii</a></td></tr> -<tr><td>Ramón de Zubiaurre</td></tr> -<tr><td class="indd"> -<a href="#plt_XXXVIII"><i>Retrato de mi Esposa (Portrait of my Wife)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XXXVIII">xxxviii</a></td></tr> -<tr><td>Antonio Ortiz Echagüe</td></tr> -<tr><td class="indd"> -<a href="#plt_"><i>Supersticion (Superstition)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XL">xl</a></td></tr> -<tr><td>José Gutíerrez Solana</td></tr> -<tr><td class="indd"> -<a href="#plt_XLI"><i>Carnaval en la Aldea (The Village Carnival)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XLI">xli</a></td></tr> -<tr><td>Claudio Castelucho</td></tr> -<tr><td class="indd"> -<a href="#plt_XLIII"><i>Niños Gitanos en la Playa (Gipsy Children on the Beach)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XLIII">xliii</a></td></tr> -<tr><td>Juan Cardona</td></tr> -<tr><td class="indd"> -<a href="#plt_XLIV"><i>Altar de Mayo (May Altar)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XLIV">xliv</a></td></tr> -<tr><td>Carlos Vazquez</td></tr> -<tr><td class="indd"> -<a href="#plt_XLVI"><i>Una Dolorosa (Our Lady of Sorrows)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XLVI">xlvi</a></td></tr> -<tr><td>José Mª Lopez Mezquita</td></tr> -<tr><td class="indd"> -<a href="#plt_XLVII"><i>Pilarcita</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XLVII">xlvii</a></td></tr> -<tr><td>José de Marti Garces</td></tr> -<tr><td class="indd"> -<a href="#plt_XLIX"><i>Interior</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_XLIX">xlix</a></td></tr> -<tr><td>Nicolás Raurich</td></tr> -<tr><td class="indd"> -<a href="#plt_L"><i>Terruños (Rough ground)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_L">l</a></td></tr> -<tr><td>José Ramón Zaragoza</td></tr> -<tr><td class="indd"> -<a href="#plt_LI"><i>Viejos Bretones (Old Bretons)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_LI">li</a></td></tr> -<tr><td>Conde de Aguiar</td></tr> -<tr><td class="indd"> -<a href="#plt_LII"><i>Retrato de un Torero (Portrait of a Bullfighter)</i></a></td> -<td class="rt" valign="bottom"><a href="#plt_LII">lii</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p> - -<h2><a name="SPANISH_PAINTING_WITH_SPECIAL_REFERENCE_TO_THE_EXHIBITION_AT_BURLINGTON" -id="SPANISH_PAINTING_WITH_SPECIAL_REFERENCE_TO_THE_EXHIBITION_AT_BURLINGTON"></a> -SPANISH PAINTING—WITH SPECIAL<br /> - REFERENCE TO THE EXHIBITION AT<br /> -BURLINGTON HOUSE, LONDON<br /> NOVEMBER, 1920 TO JANUARY, 1921</h2> - -<p class="nind"> -<span class="letra"> -<img src="images/ill_t.png" -width="100" -alt="T" -/></span>HE exhibition of Spanish Painting held in London in the galleries of -the Royal Academy from November to January last, excited a lively -interest in the English public and inspired numerous articles on the -subject in English journals and reviews. If all of these were not in -accord on certain issues and critics adopted various points of view, it -may still be said that the crowds of visitors which it attracted and the -manifold expressions of opinion it evoked supply the clearest evidence -that the exhibition aroused the curiosity of the English public, and -consequently may be regarded as a triumph for Spanish art and a success -for its promoters.</p> - -<p>The reasons underlying the interest which Spanish art awakens to-day in -enlightened circles (this is the second exhibition of the kind which -Spain has of late witnessed beyond her borders, recalling that of Paris -in 1920) are worthy of reflection and may be said to have inspired the -Royal Academy’s exhibition.</p> - -<p>Spain—her life, history, customs, art—is often regarded subjectively -as though enveloped in a haze, or through the medium of legend, which, -however accommodating it may be to literary expression, is by no means -conformable to the facts of history or present realities. Viewed in this -picturesque manner and because of the isolation in which the country -remained for generations, and perhaps still remains, it has attracted -the attention of writers and poets, and even scientists and -philosophers, unfamiliar with their theme and dubious in their -assertions. Doubtless the typical, the true native spirit has not been -misunderstood by the outside world. Thus in the case of Cervantes and -Velázquez, their names are household words in every land. But the kind -of knowledge to which we allude is not usually imparted by such lofty -spirits, who speak to humanity from the heights, without distinctions of -race or frontier. That which they accomplish is only a part of the -national achievement. It is the medium in which it is fashioned, the -environment in which it comes into being, its artistic matrix, which -determines the precise type of racial endeavour. To its national -character the new Spain cleaves, and by its light her ideas will be -readjusted, her history interpreted, her present respected as in line -with her tradition, which, in the sphere of things<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> artistic, Spaniards -regard as a potent factor in the advancement of world art.</p> - -<p>Spain is familiarly spoken of as a country of distinctive character, and -is so not only because of its geographical situation, which has kept it -somewhat apart from frequented routes, but because it aspires to such a -reputation. At the present time it is incessantly productive of art, its -output exhibiting a specific character of its own, obvious and -intelligible to those who examine it with sufficient care. Undoubtedly -it has been influenced at certain periods by extraneous currents, but -during the sixteenth century, when the true Spanish school was created, -it was notably independent and unique. Its productions, these national -qualities which above all determine that which is called a school, -possess a character of their own, a special determinative essence, which -can only be explained by metaphysical processes. But at the same time -they display external manifestations, an ultimate expression, a speech, -an idiom, so to speak, peculiarly national. And this speech in art is -quite as fundamental as the spirit which determines the nature of the -creation. All-powerful, or at least very great, is the spiritual -capacity for creating mighty works <i>in mente</i>. But the various schools -of art came into being not only because they enshrined an idea, but -because they were able to give it form. The characteristics of the -expression, not of the idea, of form, not of essence, these it is to -which the critic should address himself in the first instance when he -desires to differentiate between the works of one school and another, -and when trying to distinguish the work typical of one artist from that -of others of the same school, who have been less successful in following -a common master. The creative idea, the spirit which animates every -work, is distinct, according to the period of its origin, even in the -case of the productions of the same race at different periods; but in -expression its form is always similar, its ideas the same. As in -literature writers of one nationality have to employ a common tongue, so -in painting an expression equally conclusive, a palette, a technique, an -idiom quite as definitive, determines the compositions typical of each -race. If we find scattered throughout a museum where there are examples -of all schools, a Saint by Greco, an ascetic figure by Ribera, a -portrait by Velázquez, an image by Zurbarán, a visionary subject by -Valdes Leal, a Virgin by Murillo, and a woman by Goya, it is probable -that these works will contrast with one another too forcibly, or at -least will not blend harmoniously. Each of them belongs to an epoch, and -possesses a distinct creative and æsthetic spirit. But, even so, we will -find that although the works belong to different schools, and variations -and dissimilarities abound, all have one speech, one ultimate idiom in -common; in a word, all have been painted in Spanish.<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p> - -<p>It is not easy to state precisely in what this ultimate expression -consists, but on general lines it is possible to affirm of Spanish -artists that their work is characterised by a decided tendency towards -sincerity, simplicity of composition and tonal harmonies in grey. -Velázquez appears to have fixed the character of the Spanish palette and -technique: the scale of very subtle greys, the harmonies of grey and -silver, the use of certain carmines and violets, first encountered in -the work of Greco, were tested and employed by him, as were those -coloured earths especially indigenous to Spain, the earth of Seville and -the preparation of animal charcoal, the use of which is noticeable in -his canvases. These determined the material elements by the aid of which -was developed a method of painting as simple as characteristic. -Velázquez, like the painters of the great Italian school and the schools -of the North, grew tired of conventionalism in colour and perspective, -and, employing an exuberant palette and gifted with vision of -extraordinary keenness, turned to the natural, and, with the lesson of -Greco before him, and by aid of his own gifts of observation, sincerity, -and a supreme simplicity, did not employ more than the necessary colours -to obtain those gradations of tone which to our eyes appear so natural -and present the harmony afforded by reality, the master by choice and -temperament inclining to those in which were combined all the shades of -grey. He created by his unique palette the true and unmistakable Spanish -style. Goya, more than a hundred years after him, during the close of -the eighteenth century and the beginning of the nineteenth, a period -when the national characteristics tended towards insipidity, maintained -this traditional spirit and thus saved Spanish painting from becoming -confounded with the works of his contemporaries in France and England.</p> - -<p>The years which followed those of Goya, the remainder of the nineteenth -century, those years of easy communication, of rapid transit, of -frequent travelling, of international study and residence abroad, so -much more advanced in some respects, were less rich for Spanish -painting. Spanish artists, absent from their country, engaged in many -departments of work and instruction, lost something of their former -qualities. At the present time, in which there seems to have been born -into the world a new assertion and exaltation of nationality, Spaniards -have regained their ancient spirit, and while aspiring to absolute -modernity, remain faithful to a tradition which is peculiarly their own, -which makes for national individuality, and has caused them to be -regarded with that interest which always accrues to the original, the -characteristic, the intelligent, and consequently arouses attention and -anticipation.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>England has ever followed the progress of Spanish art with enthusiasm<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> -and interest. During the nineteenth century, the majority of the works -of art which left Spain found a resting place in England. In London -within recent years three exhibitions of Spanish painting ante-dated -that of 1920—one in the New Gallery (1891), another in the Guildhall -(1901), and the last in the Grafton Gallery (1913). All of them were -rich in results, more especially the third, which was remarkable for its -modern section. The difference in character between the exhibition of -1913 and that of the Royal Academy in 1920 consists more especially in -the display of works belonging to English collections, the latter being -composed for the most part of examples sent from Spain as an act of -homage to the English people, and to assure them once more of the -existence of a spiritual bond or tie between the two countries, which -with the passage of time aspire to a more intimate relationship.</p> - -<p>It was at first the intention of the organisers of the exhibition of -1920 not to send as representative of the older art any except the works -of the sixteenth and seventeenth centuries and a few pictures by Goya, -as examples of the golden age of Spanish painting, and especially in -view of the exceptional interest in Goya. But it was ultimately decided -to furnish an exhibit completely representative of all epochs. At the -same time the Spanish Committee recognised that the section devoted to -Primitive Art—in which among the many artists represented the most -remarkable was Ribera—was lacking in distinction. This it regretted and -felt a pleasure in its ability to compensate for the omission by -providing a full representation of the greater Spanish painters, and in -being able to lend ten Grecos and twenty-one Goyas, preserved in Spain, -to Burlington House, a thing until now impossible of accomplishment and -which it will not be easy to repeat.</p> - -<p>The works of the primitive period placed on view, though all of peculiar -interest, and several of striking character, were still inadequate to -give a just idea of the development of early art in the Iberian -Peninsula. The first essays of Spanish art were indeed lacking in -national characteristics. At a time when Italy and Flanders produced -painters of distinctive note, Spain, and perhaps the whole -Peninsula—for in this connection we must not forget Portugal—filled -its churches, monasteries and convents with panels and altarpieces. With -the exception of the names of several artists now identified, all of its -productions are of doubtful paternity, its style is borrowed and in -general is distinguished only by the possession of regional -characteristics of a minor kind. Therefore the paintings on panel that -it produced are to-day referred to, in order to distinguish them one -from another, as belonging to the Castilian, Portuguese, Catalan, -Aragonese or Valencian Schools. For this there is an historical reason. -The Peninsula, at the time in which its early art was produced, was<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> -divided into different kingdoms and states, each absolutely independent -and having its own history and traditions. Thus the kingdom of Aragon, -with Valencia, was intimately connected with the Mediterranean, and came -within the sphere of Italian influence. Castile was more closely related -to the states of Flanders and the Rhine, admitting and developing -Flemish and German tendencies. Catalonia possessed an art very similar -to that of Provence. But I believe that all this work, chaotic, lacking -in national expression, and in determinative characteristics, presents a -difficult problem for its investigators. Add to this that these panels -and altarpieces were often the joint work of several artists, one -painting costumes, others specialising in heads and hands, others in -drapery, still others in backgrounds, so that the whole resulted -frequently in a composition confused and equivocal. All that can be said -with any degree of certainty is that the production of this time was -large, rich and of great merit, so far as that can be attained by a race -of colourists who were lacking in discipline and insight.</p> - -<p>This manifestation of pictorial art did not obtrude itself in any -decided manner until the fourteenth century. To discover its origin we -may have to compare it with the miniatures in the manuscripts of San -Isidor, or the archaic mural decorations traceable by Byzantine art, and -it would seem to possess a greater archæological than artistic interest.</p> - -<p>Spanish art during the last years of the thirteenth century and until -two centuries later is so incomplete in its details, presents so many -diverse aspects, and the circumstances of its rise and tendency are so -vague, that to venture any general opinions regarding it would be -unwise. Its study has recently been confined to short monographs by -various critics and scholars, both Spanish and foreign, which do not go -beyond the discussion of specific works and artists, and the particular -investigation of obscure titles and documents exhumed from the archives.</p> - -<p>The arrival of Starnina and the Florentine Dello at the Court of Juan I -of Castile in the second half of the fourteenth century, appears to have -given a very great impetus to that style to which the Spanish painters -were growing accustomed. But this Italianism notwithstanding, Flemish -influences penetrated, if more lately, still more rapidly into Spain. -The early Spaniards pursued and sought a realism in art which they were -unable to find in that of Italy, hence their predilection for the style -and manner of the Flemish and German painters and those of other -countries whom they came to call painters of the North. The appearance -of Van Eyck in the Peninsula in 1428, and that of other Flemish painters -who arrived there about that time, aroused a true enthusiasm and -imparted to Spanish art a tendency to copy faithfully from nature which -henceforth came to be one of the characteristics which have never left -it. Among<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> these painters of the North it is strange to find, a little -before the middle of the fifteenth century, an artist called Jorge -Inglés (George the Englishman), so named, without doubt, from his -origin, who did some important work, especially in the hospital of -Buitrago, the study of which we heartily commend to the English public -and critics. We should like to have sent this work to the exhibition of -the Royal Academy, but its enormous dimensions, as well as other -circumstances, rendered this impracticable.</p> - -<p>During this epoch, the composition of Spanish works begins to show the -use of colours prepared with oil, thus permitting the development of a -technique more in conformity with the Spanish temperament. Consequently -the new medium appears in the works of many masters, among the first of -these recorded being <i>La Virgen de los Consellers</i>, painted and signed -by Luis Dalmau in 1445.</p> - -<p>Andalusia, a region which has come in more recent times to be regarded -as the cradle of Spanish artists, produced at this time not a few -painters. The work, <i>Saint Michael</i>, of the master Bartolomé de -Cárdenas, which was exhibited at the Royal Academy, pertains to this -rich and flourishing period, which gave an impetus to the forces then -impelling all Spanish life toward the national union which came to pass -in the reign of the Catholic kings. Two new centres of activity arose at -this epoch, which greatly fostered the rise of Spanish civilisation and -favoured the development of pictorial art—two cities glorious and -historical in Spain—Toledo and Salamanca.</p> - -<p>Side by side with this budding art—which was in a certain sense -inspired by the schools of the north, but nevertheless began to display -a national tendency—a few isolated artists, either by preference or -training, still retained the Italian style. We recall the <i>Santa -Catalina</i> of Hernando Yáñez de la Almedina (<a href="#plt_I">Plate I.</a>), shown at the -exhibition, a work which has not been sufficiently appreciated and must -be regarded as a beautiful example of that period.</p> - -<p>Arising at the close of the epoch of national unity, the House of -Austria, in the person of its most exalted representative, the Emperor -Charles V, commenced to govern the destinies of Spain. The victorious -expansion of Spanish arms, both in the Old World and the New, during the -first half of the sixteenth century, had but little influence upon -artistic effort, and none of the Spanish painters of this period are -regarded as the equals of their Italian, Flemish, German or Dutch -contemporaries. And our artists, at a time when the entire national -fortunes were hazarded in campaign after campaign, had enough to do to -maintain an epoch of gestation, to comprehend the laws and trace the -spiritual current of the Renaissance which now dawned upon the world of -culture. This great<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> movement failed also to take a national direction -with Spanish artists, and the few books and treatises on art printed in -Spain during this period are poor in conception and lacking in -information.</p> - -<p>Even to mention the names of the painters of the period, it would be -necessary to burden this critical sketch with a list of artists of -secondary importance. In his art Alonso Berruguete was certainly -Italian, but in spite of this, he gave to his works a marked national -stamp, maintaining in the central portion of the Peninsula a patriotic -inspiration which resulted later in a separate school of culture. -Valencia, with artists trained in Italy, was preparing a great -reputation for the future, and then a painter of individuality, isolated -in a minor province, and having few relations with the Court, created -with his brush an austere art, a little dry and stiff, ascetic in its -inspiration and scarcely suggestive at first sight, but striking in its -individuality, and reflecting that spirit of Spanish theology and -mysticism which was to dawn somewhat later. I refer to Luis de Morales, -the maker of all these <i>Dolorosas</i> and <i>Ecce Homos</i>, so unmistakable and -so much esteemed in Spain.</p> - -<p>We come now to the reign of the son of Charles V, Philip II, a man whose -memory has had to endure much criticism, but to whom, from the point of -view of art, his country owes not a few of those works which it -treasures most. The portraits of Moro, a wealth of Flemish and Italian -paintings and, among others, a very complete collection of Titians, are -due to the commands of Philip II, who, before he shut himself up in the -Monastery of the Escurial, and during his visits to Italy, Germany and -Flanders, was gathering choice examples of the art of that time, and of -the period immediately preceding it, installing in the castles of Spain -those paintings which are to-day the most important of the foreign -collections housed in the Prado Museum.</p> - -<p>But meanwhile the true national output of those years, mostly of -religious pictures, was destined for the churches and convents, and must -no longer be regarded as of minor importance. Meanwhile, also, by royal -command, there arrived in Spain the works of foreign masters, and in -Court circles there arose a style of painting exclusively devoted to the -<i>genre</i> of the portrait, and which is known to-day as the school of -portraitists of Philip II and Philip III. Its origin is known to us. It -is due to the teaching which our painters received from that famous -Hollander, Antonis Moor, who had so close a relation with our country -that his name has become hispanicised, and who is equally well known -to-day by his Dutch name, as by the more Spanish-sounding Antonio Moro. -Patronised by Philip II, he gave instruction to certain Spanish -painters, especially to one, Alonso Sanchez Coello, who was his disciple -and successor in art. Another Spanish follower of his, besides Coello, -was Pantoja de la Cruz,<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> and the third and last of those who maintained -this school and who completed its cycle, was Bartolomé González, who -flourished during the first years of the reign of Philip IV. Other -portrait painters, disciples and imitators of these might be mentioned, -but the artists alluded to typify this school, brief in its development, -very distinguished and typical, though, as we have said, not of Spanish -origin. Their characteristics are quite unmistakable. They paint a -life-like portrait, dry, hard, minute in execution, and complete in all -its details, to the treatment of which they pay much attention, -especially as regards personality. But although skilful and sincere, -their school degenerated and the last of its manifestations is -practically an imitation of the first, possessing little excellence and -scanty inspiration. Portrait painters of the Court, as we have -indicated, the works of these men, though in general replete with strong -personality, especially as regards the royal family portraits, have been -scattered throughout the world, and were practically confined to the -palaces of other reigning houses.</p> - -<p>In the London exhibition we were able to study the most important of -these several works, for example that of Pantoja, <i>Portrait of Philip -II</i> (<a href="#plt_II">Plate II.</a>), who is represented as elderly and on foot, a -full-length portrait which faithfully reflects the appearance of this -monarch, and which is housed in the Monastery of the Escurial. It -appeared at the Royal Academy, being lent for the purpose by His Majesty -the King of Spain. There were others, the property of His Britannic -Majesty, which are housed in Buckingham Palace, the portraits by Sánchez -Coello of the <i>Archdukes of Austria</i>, <i>Wenceslaus</i>, <i>Rudolf</i> and -<i>Ernest</i>, the <i>Portrait of the Infante Don Diego</i>, and that of <i>Margaret -of Austria</i>. That by Pantoja, <i>Portrait of a Lady of the Palavicino -Family</i> (regarding the authorship of which various doubts have arisen), -though not of artistic importance, certainly presents a critical -problem, for while the art of portrait painting was being developed in -Spain, in other countries and particularly in Italy, the disciples of -the school of Moor created works which might at times be confounded with -those of Spanish painters. Bartolomé González was also represented by -the portrait of the <i>Cardinal Infante Don Fernando of Austria</i>, lent by -the Marquis de Viana.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>About the year 1575 there came from Italy to the city of Toledo, a young -artist, scarcely thirty years of age, born in the island of Crete, of -Greek parents. He was called Domenico Theotocopuli, and was known then, -as he is to-day throughout the whole world, as El Greco (“the Greek.”) -There was reserved for this man the mission of shaping and, in the -course of time, perfecting through the medium of his works, a technique, -especially as regards execution, performance and character, which is<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> -manifest in all his creations, and the great enthusiasm which the lovers -of Spanish Art evince for it is natural and explicable. The fame which -the first works of El Greco aroused in Toledo reached the Court, and -Philip II commanded him to work in the Monastery of the Escurial on -pictures for the Church. They were at issue from time to time, the King -and the painter, and do not quite seem to have understood one another. -Philip II, used to an Italian and Flemish artistic atmosphere, and an -enthusiastic admirer of Titian, was unable to comprehend the work of El -Greco, which, though of the Venetian tradition, represented an -innovation profound and complete, and to-day, as four centuries ago, it -perplexes many people. But lovers of Spain, those who apprehend her true -genius and have studied her characteristics and idiosyncrasies, see in -El Greco one of the most interesting figures in international art. In -the spirit which appears in his works, the genius with which they have -been performed, the marvellous technique developed in them, and the -workmanship which gives such brilliance and quality to the colour, so -that it appears at times to have been executed with enamels, he -triumphs, disarming criticism, making us not only forget, but even -applaud the extravagances and lack of proportion of which his works are -full.</p> - -<p>The work of El Greco may be divided into two distinct groups: one -comprising human figures in general, portraits; the other divine -figures, images, and religious paintings. In one work, the most complete -and important of all, the <i>Burial of the Count of Orgaz</i> (<a href="#plt_V">Plate V.</a>), -these two aspects are joined. The upper portion, the heavenly, which it -would seem the painter suffused with his idealism, is peopled with -divine figures, symbolic and incorporeal. In the lower part, which -represents an earthly scene, the form and colouring have the qualities -of things terrestrial. In the exhibition of the Royal Academy, in the -salon set apart for the works of El Greco, there were gathered ten -examples eloquent of these two phases of his effort. His <i>Self-portrait</i> -and <i>A Trinitarian</i> exhibit the second; <i>The Annunciation</i> and the -<i>Christ embracing the Cross</i> the first. Another canvas which occurs to -one as affording a good example of his brilliance of colouring and -individuality is the picture full of miniature figures, <i>The “Glory” of -Philip II</i> (<a href="#plt_III">Plate III.</a>), sent to London by His Majesty King Alfonso -XIII.</p> - -<p>In this collection of his works, as indeed, in all those from the brush -of this master, one could study the origin of the greyish tonality -characteristic of the Spanish school which he was the first to introduce -and give effect to, and to which Velázquez, in later years, gave -definite form, thus founding a technical characteristic of the school. -It may interest those curious regarding such problems of painting that -the shadows which abound in the works of El Greco, though intense, are -never black,<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> and this lends to them a singular profundity and -atmosphere. From this relation of the light and shade, never attaining a -pure black or white, there results a wonderful transparency and -corporality, and all this is attained with fluid colours, in most -instances blurred and rubbed and nearly always rather soft, slight only -in the brighter places and in the points of light. He observes and -understands that the reproduction of these things in the art of the -painter is not due to faithful copying alone. The atmosphere, the light, -the reflections, which these objects display to our sight, change -according to conditions, and are represented on canvas not as they -actually appear, but according to the aspect they present to the vision, -modified by external agencies. Only thus is it possible to obtain the -impression of truth, of movement, of depth. In the work of the copyist -the objects and figures are petrifications, rigid and dead, in one and -the same plane, in which, perhaps, the ability of the artist can more -readily be appreciated, but which never gives the impression of movement -or of life.</p> - -<p>Distinctive as a creator, originator and master of technique, statements -regarding El Greco’s artistic antecedents are debatable, as for example -the relationship to other masters of Byzantinism which some profess to -be able to discern in his pictures. But it remains clear that in his -typical works he is above all the true interpreter of the Spain that was -noble, pious and mystical, and the most sympathetic delineator of the -spirit of the time in which he lived. We believe that it is correct to -regard him as the adopted son of the Spain of his day.</p> - -<p>Although his work has been discussed since the times of Philip II, -to-day it ought to be regarded as consecrated. It is not only among -painters that we should seek the true influence of El Greco. It is more -extensive, and embraces diverse manifestations, therefore the causes -which animate it are diverse. And so, in the studios of painters, in the -studies of the cultured, among wise and refined critics, among literati, -we may discover the most fervent and impassioned lovers of El Greco. -There exists, without doubt, an invisible bond between this painter and -the world of modern intellectualism, and this is owing in great part to -the enthusiasm which his works arouse, to the peculiar mystery in which -they are enveloped—which we do not find in any other painter—to the -suggestive power which he wields, to something which impassions and -completely subdues us. It is for this reason that disciples of El Greco, -who in past years were scarce, are to-day a legion in number, and their -pictures, once unknown and without value, are now celebrated and occupy -prominent positions in museums and private collections.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>Neither Tristan, nor Mayno, nor Jorge Manuel Theotocopuli are figures<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> -sufficiently important to allow us to say that El Greco, their master, -founded a school, much less that he formed with them the so-called -Toledan school, which, in reality, had no existence and did not give -rise to an output from that city possessing those marked characteristics -which would place it in the category of a school.</p> - -<p>It has to be recorded that in the last years of the sixteenth century -Philip II brought from Italy several Italian decorative artists to paint -in fresco the extensive walls of the Monastery of the Escurial. He may -have wished to bring with him for the purpose some celebrated foreign -masters, but this was not possible, for the most important epoch of the -Italian Renaissance had come to an end; and instead of great masters, -there came others, decadents, facile “hacks,” who in a short time -covered these enormous wall-spaces with compositions of scanty -inspiration. We mention the visit of these painters to Spain, not -because of any importance it has in itself, but in order to show that -Spanish painters, even those of standing, have in all times been lacking -in the qualities which especially characterise the decorative painter. -Philip II might have encouraged Spanish artists. But whom—Morales, El -Greco, the artists of the Court, the lesser followers of El Greco in -Toledo? No, none of these appear to have been qualified to bring such a -task to a conclusion. This and nothing else was the cause of the coming -of the Italians; and for the rest the King favoured the works of various -Spaniards, placing many examples of their work in his palaces and in the -religious houses he founded. And so Spanish painting remained in this -particular position to the close of the sixteenth century and during the -first years of the seventeenth, which is regarded as its golden century, -when, in the midst of fruitful invention there arose four great figures, -each to-day world-renowned—Ribera, Zurbarán, Velázquez and Murillo. -What centres of artistic life did Spain possess at this time? Two, -fundamentally; those two cities which have since produced the greatest -number of painters and the most able—Seville, the capital of Andalusia, -the open gate to the New World, and Valencia, a Mediterranean port -exposed to the influences of that which had been the classical world, -and in close and direct communication with Italy, which bequeathed to it -the last sparks of the marvellous life of the Renaissance. In Valencia, -Francisco Ribalta, a conscientious painter, who had studied in Italy, -introduced a style of colouring after the manner of Ribera. In Seville, -frequented by all the Andalusian intellectuals, Pacheco, a most cultured -artist, came later on to be the master of Velázquez and Zurbarán. In the -exhibition with which we are concerned Ribalta and Pacheco, more famous -for the disciples they left than for the works they produced, were -represented, the first by Saint Peter (<a href="#plt_VII">Plate VII.</a>) and his portrait of -himself as <i>Saint Luke painting the Virgin</i>;<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> and the second by the -<i>Portrait of a Knight of Santiago</i>.</p> - -<p>A disciple of Ribalta, the figure of Ribera rises suddenly like that of -a great master, with all the distinction which the title implies. Going -to Italy while yet very young, he passed the greater part of his life -there, and was known as “Lo Spagnoletto” (the little Spaniard). The -Italians have tried to appropriate this artist to themselves, but his -truly Spanish character is so manifest that no one can entertain any -doubt upon the point. On arriving in Italy, he studied the works of -Raphael and Correggio, finding his true <i>métier</i> at last in the energy -and the chiaroscuro of Caravaggio, who then opposed a realistic style to -the pseudo-classicism so noticeable at this time. Ribera, whose work -exhibits the attributes of Spanish technique, and who above all excelled -in drawing, a quality which distinguished him while still very young, -naturally found in Caravaggio, the master of the chiaroscuro, more -inspiration than in others of the classical painters and those Bolognese -eclectics who were afterwards his imitators and rivals. He went to -Naples, where he quickly achieved a fame which spread throughout Italy -and Spain, his native land, with which he had never lost the most -intimate relations as an artist, and here, in Naples, flattered by -fortune and with riches heaped upon him, he continued to produce his -admirable canvases, until the seduction of his daughter, the most -beautiful of all his models, by the second Don John of Austria, the -natural son of Philip IV, hastened his end.</p> - -<p>The frequency with which he represented tatterdemalions, beggars, -martyrs, saints, scenes of violence, of torture, of asceticism, marks, -as everyone knows, the style of Ribera in its more superficial sense, -and there is scarcely a scene of horror nor a picture of exaggerated -tenebrosity belonging to that period and of Spanish tendency, which has -not been attributed to him by persons of slight experience, so typical -of him are these qualities, in which, moreover, he has no equal. Quite -as exceptional are his vigour, his skilful modelling—which has the -appearance of sculpture—and the anatomical construction of his figures, -the effects of lighting which he knows how to achieve, and the exact -appearance of reality, accentuated, but never repugnant, which he -accomplishes. Always in touch with reality, two styles are apparent in -his work: one, in which he appears to have revelled in violence of -contrast, seeking out scenes of grief, old age or death; and another, -less frequent it is true, in which he represents the more serene and -placid aspects of reality.</p> - -<p>It is a pity that the London exhibition did not have a full and -brilliant display of the work of this master, as thereby his fame, which -to-day is, in our judgment, less than he merits, for reasons expressed -above, might have been securely founded. It is necessary to mention -among the Valencians of this period Espinosa and Orrente.<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span></p> - -<p>In Seville, as we have said, Pacheco was at the height of his fame, the -master of all, the fount of culture. But the technique of this school at -that time was under the influence of a man of a perplexing and stubborn -genius, little suited by character as a guide for youth, but still -animated by the Spanish spirit, subtle in technique and possessing a -notable force of expression. The young men followed his style, which was -in consonance with the progressive tendency of their years. We refer to -Herrera el Viejo (the elder) one of the most remarkable painters Spain -has ever produced. But it is a curious circumstance that those disciples -who worked in the atelier of Herrera, unable to get much guidance from -the master, soon betook themselves to the house of Pacheco, who, -intelligent and comprehensive, did not attempt to misdirect the -temperament and the inclinations of his young pupils, but set them to -the task of faithfully interpreting nature.</p> - -<p>Zurbarán and Velázquez, the most notable by far of all their -contemporaries, protested against the conventionalisms of scholasticism. -They did not seek to embellish the rude form, which the living model -frequently presents to the eyes of the artist in search of a higher -ideal, but to copy it as they beheld it, as it was presented to them, -without distortion or falsity, was the purpose which they maintained -faithfully all their lives. Pacheco appreciated the talent and outlook -of these young men, he protected it as much as he could, and above all -cultivated those qualities which seemed to him the most striking. -Velázquez said to him: “I hold to the principle that nature ought to be -the chief master and swear neither to draw nor to paint anything which -is not before me”; and Pacheco, encouraged by the tendency towards a -frankly naturalistic style which his disciple showed, and observing the -qualities which he evinced, made Velázquez his son-in-law before he had -arrived at the age of nineteen.</p> - -<p>Among such tendencies the art of Zurbarán and Velázquez was evolved. The -works of their youth were almost alike. They are sufficiently -distinguished later because, while the first hardly ever left the -neighbourhood of Seville, expanding but little, Velázquez, as is known, -developed a whole pictorial technique.</p> - -<p>Zurbarán was born in 1598. He was therefore a year older than Velázquez. -By birth he did not belong to Seville, but to the province of -Estremadura. But this notwithstanding, he grew up among the artistic -influences of Andalusia, for the young painter arrived in Seville at the -age of sixteen years, so that he is regarded as one of the greatest -figures of the Sevillean School. For twenty-five years the artist was -famous for his figures of virgins and saints, realistic in character, -powerful, well drawn, vigorous and conceived without exaggeration, full -of life and individu<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span>ality. We mention as a work great in conception the -<i>Apotheosis of Saint Thomas</i>, housed in the Museum of Seville. It is -characteristic of Zurbarán the refractory, who refused to be inspired -either by foreign or national influences. This lent him individuality -and rendered his productions a series of continuous links between which -but little difference can be remarked. He is famous, moreover, for his -religious paintings, his monastic visions. These figures of monks in -white sheets, which arouse admiration and appear to be carved, such is -the relief of their draped folds, are characteristic and full of -grandeur, feeling and austerity, and ought to be regarded in the light -of actual documents of the monastic life of the Spain of the seventeenth -century.</p> - -<p>The distinctive feature of the technique of Zurbarán is the luminosity -rendered by means of strong contrasts of light and shade. High lights -without crudity and shadows without blackness are noticeable, as in the -works of Ribera. The grey tones are never heavy, and their quality, -harmonious in its blending, diminishes the hardness of the lines of -profile, suppressing all rigidity. Zurbarán is, moreover, a painter -easily understood, who rarely has recourse to a symbolism more or less -appropriate for the expression of thought, and his ideal aspirations -always present, in all that refers to form, a manifest passion for -reality.</p> - -<p>This master was well represented at the Royal Academy. Perhaps there was -nothing of great distinction, but the nine works from his brush, all of -one kind, were in general very typical and individual, comprising -images, saints and figures realistic in character (<a href="#plt_VIII">Plate VIII.</a>).</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>We have alluded to the manner of Velázquez’s appearance in Seville and -the influences under which he commenced his apprenticeship. A multitude -of studies seriously executed, some in black chalk, some in colour, were -his first essays. While still a youth he painted a number of those works -which still astonish by their reality, by their masterly drawing—a -quality with which he was naturally endowed—by their sculptural relief, -and by their sobriety. Two works may serve as typical of these, both -well-known in England, where they now are, <i>The Old Woman Frying Eggs</i> -in Sir Herbert Cook’s collection, and the <i>Water-Carrier of Seville</i>, -the property of the Duke of Wellington, which we quote as an example of -the style and resolution which the artist bestowed during these years -upon works of a popular character, and which, to judge from its subject -and models, was then a novelty in a school of painting which had -produced scarcely anything except portraits and paintings of a religious -kind. Other works of a naturalistic tendency, vulgarly called -<i>bodegones</i>, or “eating-house” sketches, and some of a religious -character, complete the production of those first years of Velázquez, -which was so limited in his<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> later years, that he must be described as a -painter whose output was relatively small.</p> - -<p>When the artist was twenty-four years of age, his father-in-law, -Pacheco, a man of influence, advised him to leave Seville, and himself -introduced him to the Court of Philip IV, in whose service Velázquez -remained for the rest of his life. He was immediately granted a position -and salary at the Court, and his first portraits of the Sovereign and -members of the Royal Family aroused surprise and admiration. These, and -his first subject compositions painted in Madrid, especially that known -as <i>Los Borrachos</i> (“The Topers”), in their high excellence show the -culmination of all the qualities found in the works painted in Seville -during his first years of apprenticeship. Never has the Spanish -picaresque spirit, which forms such a brilliant page in the literature -of those times, been given a more genuine representation than is to be -observed in the canvas just mentioned. If Velázquez had died after -painting <i>Los Borrachos</i>, this work alone would have sufficed to have -given him supremacy and the title of leader of a school previously -indefinite and lacking a fixed and individual point of view.</p> - -<p>A little later, at the command of his King, Velázquez went for the first -time to Italy. The influence which Italian art exercised upon him has -been the subject of discussion. It is not possible in an essay such as -this to try to elucidate this point, but it appears manifest that if -Italian art was naturally absorbed by his talent, it did not greatly -affect his native qualities; and to judge from his subsequent work, it -would seem that he showed a constant and single-minded solicitude to -achieve an interpretation always actively faithful to nature.</p> - -<p>The picture <i>Las Lanzas</i> (“The Lances”); the equestrian portraits of -kings, princes and others, in which these personages appear dressed in -hunting costume; those of the buffoons of the Court; the <i>Scenes of the -Chase</i> in the mountains of El Pardo; and some others of a different -type, such as the <i>Christ on the Cross</i>, in the Prado Museum, make up -the tale of his output after his brief stay in Italy, and compose what -critics have called the second style of Velázquez, more ample and grand -than that of his youth, and, as time advances, enriching all the works -which come from his brush with those definite grey harmonies which are -occasionally almost silvery in tone, so characteristic and so -unmistakable.</p> - -<p>The painter was for a second time in Italy in the period of his -maturity. He then painted the portrait of <i>Pope Innocent X</i>, and -executed a bust of <i>Juán de Pareja</i>, which was on view in the exhibition -at Burlington House. Returning soon afterwards to Spain, he there -addressed himself to the accomplishment of his greater works, which -truly reveal a superior art, somewhat enigmatical in its very -simplicity, a sublime style which at<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> first sight does not seem to -require much comprehension and the view-point of which has given to the -Spanish School of all times, as well as to other schools, rich legacies, -excellent examples and notable fruits. There belongs to this epoch of -his artistry the portraits of kings and princes, the second series of -the court dwarfs, even more rich and astonishing than those of the -period of his middle years, some religious pictures, mythological works -and, lastly, the two great works <i>Las Hilanderas</i> (“The Spinners”) and -<i>Las Meninas</i> (“The Maids of Honour”) (<a href="#plt_X">Plates X.</a> and <a href="#plt_XI">Plates XI.</a>.), supreme -monuments of a school, models of synthetic art, of astonishing -simplicity in their composition, of delicate harmony, eloquent of the -study of values, masterpieces, in short, of sublime painting, which, of -an apparent modesty, are, notwithstanding, magical works, spontaneous -creations, which shew neither exertion, weakness, nor weariness, and -which seem to us the result of an art serene and calm, contrary to the -influences of great idealistic conceptions, but which, essentially -objective, reproduce the natural with a truth which is unsurpassed.</p> - -<p>In the exhibition at Burlington House Velázquez was not adequately -represented. But there were reasons for this. The undoubted pictures -from his brush which are privately owned in England, and to some of -which we have already alluded, are well-known and have figured in recent -exhibitions of Spanish art, so that it was not deemed necessary to -expose them again; while of those in Spain, the greater part is housed -in the Prado Museum (and could not of course be sent to England), and -those belonging to private persons are very scarce.</p> - -<p>The examples from English collections were the magnificent portrait of -<i>Juán de Pareja, the Painter</i>, from Longford Castle; the bust of <i>A -Spanish Gentleman</i>, the property of the Duke of Wellington; -<i>Calabacillas</i>, <i>the Buffoon</i> (<a href="#plt_IX">Plate IX.</a>) which has recently passed into -Sir Herbert Cook’s collection; <i>The Kitchen Maid</i>, in Sir Otto Beit’s -collection—all representative of a period of the artist—as well as the -portrait of <i>Don Baltasar Carlos, Infante of Spain</i>, which His Majesty -the King of England lent from Buckingham Palace.</p> - -<p>Of this last special mention must be made. In our judgment it is an -undoubted Velázquez and, moreover, a most beautiful example. Every part -of the armour, of the legs, of the body, and, above all, the adjustment -of the figure and the design are typical of Velázquez. How has it come -to be regarded in England as a work of Mazo, where the master is so -justly esteemed and where, owing, doubtless to enthusiasm for Velázquez, -nearly all the pictures of Mazo are attributed to Velázquez? Or is it -that some have arrived at false conclusions concerning Mazo and -Velázquez, and when they are confronted by an original and undoubted -Velázquez, are dubious of it because it does not appear sufficiently -typi<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span>cal of Mazo? It has not, to the best of our belief, elsewhere been -observed that the head of this portrait is somewhat faint and flat.</p> - -<p>From Spain there were sent <i>The Hand of an Ecclesiastic</i>, lent by His -Majesty the King of Spain, a fragment, without doubt, from a portrait of -which the remainder was lost in the burning of the Alcazar of Madrid. -The special interest of the said fragment is that the hand holds a paper -on which is the signature of Velázquez, assuredly, one of the three -authentic signatures of this artist which remain to us, the others being -found on the portrait of <i>Philip IV</i>, in the National Gallery, London, -and that of <i>Pope Innocent X</i>, in the Doria Gallery at Rome. Concerning -the portrait of <i>Pulido Pareja</i> in the National Gallery, London, we have -already written at some length on another occasion, with the intention -of proving that this portrait is by Mazo, and that the signature is -consequently apocryphal. The <i>Portrait of the Artist</i>, from the Fine Art -Museum, Valencia, is a beautiful example, if somewhat damaged and -blackened, and the other three works shown have been more frequently -exhibited and studied than those which are of undoubted authenticity. -Among others of outstanding interest is the <i>Head of a Cleric</i>, the -property of the Count of Fuenclara, which, although its attribution is -not unquestioned, is remembered above all as a beautiful piece of work.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>We must now commence the rather complex study of those paintings which -compose the Madrid School. We say complex, because, composed as it was -of painters who came from one or the other part of the Peninsula, it -does not possess a precise and regional character, but is the resultant -of the work of many artists whose names we must not forget, as, for -example, Carducho, Caxes and Nardi, of Italian origin, who, or perhaps -their fathers, were brought to Spain as decorative painters. It seems -natural that they should have had imitators or disciples, as it was -precisely in the country of their adoption that artists of this genre -were awanting. But, on the contrary, they were absorbed by the -environment, and produced and achieved a sober and realistic style, -forgetful of the circumstances of their apprenticeship, and, we may say, -hispanicised.</p> - -<p>Velázquez was the chief representative of the Madrid school, its -creator, and, more, its prototype, marking the apogee of Spanish -painting. His aim was always to simplify, a purpose which is clearly -obvious from the methods he employed from his youth to his last work, -constantly simplifying his technique and, consequently, his palette. To -the study of his palette alone we have dedicated a work of a purely -technical character (of which <span class="smcap">The Studio</span> of November 1920 printed an -extract) which space does not permit us to reproduce here, but which we -take occasion to refer to since the simplification of the palette of -this artist, the creator of<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> a school, must be regarded as of -exceptional importance, as characteristic of almost all later Spanish -artistic achievement, endowing it with great individuality and -distinguishing it from all other schools. This circumstance is worthy of -recognition by all who wish to arrive at the true significance of -Spanish painting, so far as its outward manifestations are concerned.</p> - -<p>Before dealing with the continuators of Velázquez, we must briefly refer -to painting in Andalusia, where Murillo appears as a great force in -Seville, years after Velázquez had been so in Madrid. Murillo, at first -a disciple of his kinsman Castillo, was soon afterwards a follower of -Pedro Moya. The painter passed during his youth through a whole gamut of -influences, that of Van Dyck especially, alternating at times with that -of Ribera. At twenty-four he was in Madrid, where Velázquez worked and -taught, though only for a short time. When he returned to Seville he did -not forget the lessons of Velázquez, and from this period date those -popular figures, full of character, which began to bring him fame. -Later, Murillo altered his methods, and for the rest of his life -employed a style suave and soft as the Andalusian accent, graceful and -suggestive. His religious works, his <i>Virgins</i>, and, above all, his -<i>Conceptions</i> were soon famous, and, an incessant worker, he left a -multitude of paintings which bear a personal and unmistakable stamp, and -reveal an adequate technique, ample in treatment, in a tonality of -varying greys, warm and glowing and without exaggeration.</p> - -<p>But in truth the art of Murillo is of less interest than formerly, owing -to present-day preferences, which seek spirituality in art, a force and -even a restlessness which we do not find in the work of this artist. But -his fame in his own day was very great, and for a long time he was -considered as the foremost of Spanish painters. What gave him such a -great reputation? The illustrious Spanish critic, Señor Cossío, has -asked the same question regarding the causes underlying a style so -direct and simple. Murillo’s subject-matter, says Señor Cossío, in the -background as in the thing portrayed, represents always the soft and -agreeable side of life. In the sphere of spontaneous creation, in that -which does not require profundity, nor reflection, Murillo always exerts -an irresistible attraction. His <i>Conceptions</i> are beautiful but -superficial. There is in them no more skilful groundwork, dramatic -impulse, nor exaltation than appears at first sight. To comprehend and -enjoy them it is not necessary to think, their contemplation leaves the -beholder tranquil, they do not possess the power to distract, they have -no warmth, nor that distinction which makes a work unique, and as they -hold just that degree of cultured mediocrity which in thought and -feeling is the patrimony of the majority of people, they are able to -please accordingly. If there be added to this a pious<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> and poetic -sentiment and the celestial and suave expression of his figures, it is -easy to understand the great, indisputable and just popularity which -Murillo has enjoyed. Velázquez thought profoundly, but with ideality; -Murillo has not idealism, nor is he profound. Both are realists, and if -one represents the masculine feeling in Spanish painting, the other -shows at its highest the feminine tendency.</p> - -<p>At the Royal Academy seven pictures of Murillo, some of real importance, -were shown. Amongst these religious subjects predominated, <i>San Leandro</i> -and <i>San Buenaventura</i>, from the Museum of Seville, and <i>The Triumph of -the Holy Eucharist</i>, lent by Lord Faringdon. Among the portraits were -that of the artist, the property of Earl Spencer; <i>Gabriel Esteban -Murillo</i>, sent by the Duke of Alba and Berwick; and <i>Don Diego Félix de -Esquivel y Aldama</i>, from a private collection in Madrid.</p> - -<p>In alluding to the Sevillean school, we must mention a contemporary of -Murillo, though somewhat his junior, of singular talent. His name is -little known outside of Spain, and this is doubtless the reason why so -few of his pictures have left the country. We believe it a mistake to -allude to him, as is sometimes done, as one of those Spanish painters -whose work is no longer of interest, such is his expression, his -distinctive note, his creative boldness and individuality. We refer to -Valdes Leal. His harsh outlook, his frequent inaccuracies, his thought, -profound and almost always obscure, and above all, his subjects, at -times macabre and bizarre, at times graceful, provide reasons for his -unpopularity, no less than the still scanty knowledge we possess -regarding this singular man, the circumstances of whose work and life -are presented to us almost in a legendary manner, as in the case of his -friend and patron, Don Juán de Mañara, who has been incarnated in the -popular imagination as the Don Juán of tradition.</p> - -<p>In Granada, Alonso Cano, as great a sculptor as painter, maintained, -with other artists of lesser note and standing, a flourishing school -which had links with that of Seville.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>We turn again to Madrid, to the Court where Velázquez, as we have -indicated, stamped such character on painting and informed it with such -excellence that artists flocked from all parts of the Peninsula to the -capital. This resulted in the flourishing period of art—ending with the -seventeenth century—fruitful and various, which is associated with the -School of Madrid. It is not precisely the school of Velázquez, although -equivocally so called. Velázquez had disciples who followed him, -imitating and copying him, as his servant Pareja, the mulatto, did. But -this notwithstanding, other painters of talent worked during these -years<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> in the capital, helping to form the school, even if they did not -follow him in any decided manner. Nevertheless, he is its greatest -figure, for he it was who gained the title of a school for the work of -his contemporaries, and for the generation which followed him. The -impulse which he gave by his technique and the composition of his -palette, simple and sober, are characteristic of all this period. His -son-in-law, Mazo, followed him blindly, and, working in his studio, was -constantly impressed by the productions of his master, making use of the -same methods—the same canvas, colours, brushes, and, giving rein to an -extraordinarily imitative talent, he tried to make, and occasionally -produced, actual facsimiles of his master’s works. The study of this -curious problem of painting, of the distinctive note, the inclination of -the time, as shown in the art of father-in-law and son-in-law, has been -the subject of several works from our pen. We have not insisted on the -point in these, nor have we space to do so in this brief synthesis; but -we flatter ourselves that several paintings, especially those which -belong to museums, have come to be more correctly attributed to Mazo -rather than to Velázquez, and that those who are interested in these -problems have come to distinguish the external aspect of the work of the -one from that of the other, substantial and inimitable. We must remark, -however, that Mazo had, besides the mere qualities of an imitator, a -talent of his own of singular excellence, that of a landscape painter, -which represented a relative novelty in the art of Spain at that period.</p> - -<p>After Velázquez the most important painter of the School of Madrid is, -beyond dispute, Carreño. Though his religious canvases are numerous, -Carreño was, above all, a portrait painter. The relative influence of -the work of Van Dyck, which extended as far as Seville, also reached -Madrid, and Carreño came under it at times and discreetly made use of -it. We say discreetly, for he had lost his national qualities. He -borrowed from Velázquez the basic colours of his palette, but sought to -enrich them with certain warm, golden tones, and he was enamoured of -russets and, above all, of carmines, generally those which approximate -to the colouring of the Flemings, but which appear cloying beside the -works of Van Dyck. The portraits by Carreño were represented at the -exhibition by that of <i>A Young Lady</i> (<a href="#plt_XXII">Plate XXII.</a>), belonging to the Duke -of Medinaceli, which might almost be described as a black-and-white from -its colouring and the evident purpose of the artist to preserve this -tonality throughout the work; that of <i>The Queen of Spain, Doña Mariana -de Austria</i>, the property of Don Ramón de la Sota, a most beautiful -example, from which, without doubt, have been taken the many repetitions -which are known of it besides other variants; and that of <i>The -Marchioness of Santa Cruz</i>, which is of great importance and very -characteristic. Of religious<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> pictures it is necessary to mention <i>The -Apparition of the Virgin to Saint Bernard</i>, sent from Bilbao by Don -Antonio Plasencia.</p> - -<p>The two brothers Rizi, Juan and Francisco, were of Italian origin; both -were decorative painters and worked in the style of Carducho and Caxes. -Juan, the elder, was a monk, and was one of the prototypes of the School -of Madrid, following Velázquez in his work, soberly and simply. -Francisco seems at times to display the qualities of his Italian origin, -and though sufficiently Spanish, gave to his creations a certain quality -which may have influenced the Spanish decorative painters of the time. -It is a curious problem of influence. In any case this artist, who -achieved fame in his time, is an interesting study to-day, and it would -seem that the critic must scrutinize the beginnings of the question -before he tries to explain its results. Pereda, Collantes and Leonardo -are also notable, if lacking the character of their school, which -clearly shows them to be among the disciples of Carreño, among whom, -perhaps, the most notable were Cerezo and Cabezalero, who unfortunately -died young. Cerezo seems to be the most striking figure of those years, -and his brilliant colour and fine style initiated a tendency which made -for the enrichment of the Spanish palette, the sobriety of which we -admire in the masters, but which degenerates into a certain poverty at -times in the hands of their disciples. With Cerezo we should mention -Antolínez, who also died before he reached artistic maturity.</p> - -<p>We now reach that era of painting which flourished at the Court of Spain -during the remainder of the seventeenth century. A long list of names of -artists could be made, all estimable and some remarkable, who exhibited -the proverbial vigour and picturesque temperament of the race, which, -skilfully directed, and having received a noble and traditional -tendency, commenced its onward progress without faltering. We mention, -however, only Claudio Coello, who seems to close this period. A disciple -of Rizi, whose decorative tendency he followed, he was more an artist in -a general sense than a portrait painter, and above all he produced many -religious subjects. By his work <i>The Sacred Form</i>, which is kept in the -Escurial, he seems to be sealed to the School of Madrid. This picture is -obviously a result of the atmosphere and the taste of the period in its -fidelity to character and its happy solution of problems of perspective -and effects of light.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>For Spain the eighteenth century was a period of misfortune. The reasons -for this are simple and evident. Grace and good taste—in the best sense -of the term—lightness, came to be the characteristics of this century, -and these qualities were displayed in a perfect manner in French art. -And it was precisely these attributes which Spanish artists most<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> -lacked, and still lack. They are robust, strong and sincere, but without -gracefulness, facility of expression or volatility. <i>A propos</i> of this, -it must be recalled that Spanish artistic expression appears to have -been more or less influenced in its development by foreign tendencies -which were allowed to work freely and with absolute spontaneity. The -eighteenth century was a period in which the most powerful external -influences, especially the French, the least adaptable to the Spanish -temperament, had full play. These external influences were wholly -ordained by the rule of the House of Bourbon, and incarnated in the -first of its monarchs, Philip V, nephew of Louis XIV, who, doubtless -meaning well, seemed to think it possible to transplant Versailles, with -its marvellous spirit and exquisite culture, to the Castilian cities, -which were still dominated by the sobriety and asceticism of the mystics -of past centuries.</p> - -<p>As regards painting, these influences commenced with the arrival at the -Court of Lucas Jordán, who represented the influence of the great -Italian decorative artists. Afterwards came Tiépolo, who left many -marvellous works, quite inimitable by Spanish artists. The Bourbons -introduced Van Loo, Ranc, Houasse and other French representatives of -the art of the time; and lastly came Mengs, bringing with him a spirit -wholly distinct from that of the French, a style erudite and academic -which was not sufficiently powerful to create an artistic output of any -importance in Spain, but which possessed much destructive power, -although that was limited as regards time to about a century, during -which period the national production was weak, despite the number of -artists, of whom those most worthy to be mentioned are Maella, the -Bayeus and Paret.</p> - -<p>Such was the condition of Spanish painting when, without precedent, -reason or motive, appeared in the province of Aragon, a region which -years afterwards came to typify the resistance to foreign invasion, a -figure of great significance in Spanish art, and worthy of comparison -with the greatest masters of the preceding centuries—Francisco de Goya.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>The long life of Goya coincides with an epoch which divides two ages. -The critic is somewhat at a loss how to place his work and personality, -to conclude whether he is the last of the old masters or the first of -the moderns. His greatness is so obvious, his performance so vast and -its gradual evolution so manifest, that we may be justified in holding -that the first portion of his effort belongs to the old order of things, -while the second must be associated with the origins of modern painting. -In his advance, in the manner and development of it, it is -noticeable—as we have already said in certain of our works which deal -with Goya—that he substituted for the picturesque, agreeable and -suggestive note of his younger days, another more intense and more -embracive. It would<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> seem that the French invasion of the Peninsula, the -horrors of which he experienced and depicted, influenced him profoundly -in the alteration of his style. There is a Goya of the eighteenth -century and a Goya of the nineteenth. But this is not entirely due to -variation in technique, to mere artistic development, it is more justly -to be traced to a change in creative outlook, in character, in -view-point, which underwent a rude and violent transformation. Compare -the subjects of his tapestries or of his festive canvases, joyful and -gallant, facile in conception and at times almost trivial, with the -tragic and macabre scenes of his old age, and with the drawings of this -period and the compositions known as “The Disasters of War.”</p> - -<p>His spirit was fortified and nourished by the warmth of his imagination, -and assisted by an adequate technique, marvellously suited to the -expression of his ideas, he produced the colossal art of his later -years. If his performance is studied with reference to the vicissitudes -and the adventures of which it is eloquent, the influence upon his works -of the times in which they were created is obvious. The changes in his -life, the transference from those gay and tranquil years to others full -of the horrors of blood and fire, of shame and banishment, tended, -without doubt, to discipline his spirit and excite his intelligence. His -natural bias to the fantastic and his tendency to adapt the world to his -visions seized upon the propitious occasion in a time of invasion and -war to exalt itself, or, as he himself expressed it, “the dream of -reason produces prodigies.”</p> - -<p>An artist and creator more as regards expression than form, especially -in the second phase of his work, unequal in achievement and at times -inaccurate, he sacrificed much to divest himself of these faults. He -deliberately set himself to discipline his ideas and develop that degree -of boldness with which he longed to infuse them. But he was not quite -able to subject himself to reality, and, as he was forgetful and -indolent, that which naturally dominated him began to show itself in -quite other productions of consummate mastery. This art, imaginative in -expression and idea, is more striking as regards its individual and -original qualities, than for any degree of discipline which it shows.</p> - -<p>To follow Goya throughout the vicissitudes of his long life is not a -matter of difficulty. The man to whom modern Spanish art owes its being -was born in the little village of Fuendetodos and lived whilst a child -at Saragossa. He came to Madrid at an early age, and before his -thirtieth year went to Rome with the object of perfecting himself in his -art. But he failed to obtain much direction at the academies in Parma, -and having but little enthusiasm for the Italian masters of that time, -returned to Spain, settling at Madrid. Until this time the artist had -not evinced any exceptional gifts. Goya was not precocious. The first -works to assist his repu<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span>tation were a series of cartoons for tapestries -to be woven at the Royal Factory. They were destined for the walls of -the royal palaces of Aranjuez, the Escurial and the Prado, which Carlos -IV desired to renovate according to the fashion of the time. These -works, which brought fame to Goya, showed two distinctive qualities. One -of them evinces the originality of his subjects, in which appear -gallants, blacksmiths, beggars, labourers, popular types in short, who -for the first time appeared in the decoration of Spanish palaces and -castles, which, until then, had known only religious paintings, military -scenes, the portraits of the Royal Family and stately hidalgos. Goya, in -this sense, democratized art. The other note to be observed in his work -is a certain distinction of craftsmanship, the alertness which it -reveals, which is, perhaps, due to the lightness of his colouring. On -canvases prepared with tones of a light red hue, which he retained as -the basis of his picture, he sketched his figures and backgrounds with -light brushes and velatures, retaining, where possible, the tone of the -ground. This light touch, rendered necessary by the extensive character -of the design and the rapidity with which it had to be executed, gave to -the artist a freedom and quickness in all he drew, and from it his later -works, much more important than these early essays though they were, -profited not a little.</p> - -<p>Already during these earlier years he had commenced to paint portraits -which did much to enhance his reputation, and shortly afterwards he -entered the royal service as first painter to the Court, where he -addressed himself to the execution of that vast collection of works of -all kinds which arouse such interest to-day. The list is interminable -and embraces the portraits of Carlos IV and of the Queen Maria Louisa, -those of the members of the Royal Family, of all the aristocracy, of the -Albas, Osunas, Benaventes, Montellanos, Pignatellis, Fernán-Núñezs, the -greatest wits and intellectuals of the day, especially those of -Jovellanos, Moratin, and Meléndez Valdés, three men who profoundly -influenced the thought of Goya in a progressive and almost revolutionary -manner, in spite of his connection with the Court and the aristocracy. -He also painted many portraits of popular persons, both men and women, -among whom may be mentioned La Tirana, the bookseller of the Calle de -Carretas, and that most mysterious and adventurous of <i>femmes galantes</i> -of whom, now clothed, now nude, the artist has bequeathed to us those -souvenirs which hang on the walls of the Prado Museum. In these the -artist has for all time fixed and immortalized the finest physical type -of Spanish womanhood, in which an occasional lack of perfect proportion -is compensated for by elegance, grace, and unexaggerated curve and -figure, without doubt one of the most exquisite feminine types which has -been produced by any race. Besides these, the artist produced many -lesser canvases<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> containing tiny figures full of wonderful grace and -gallantry, and having rural backgrounds, frequently of the banks of the -Manzanares, and others of larger proportions and scope, among the most -excellent of which is that of the family of Carlos IV, treasured in the -Prado Museum as one of its most precious jewels. Along with <i>The Burial -of the Count of Orgaz</i> (<a href="#plt_V">Plate V.</a>) and <i>Las Meninas</i> (<a href="#plt_X">Plate X.</a>), this -picture may be regarded as the most complete and astonishing which -Spanish art has given us. It is not a “picture” in the ordinary sense of -the word, but an absolute solution of the problem of how colour -harmonies are to be attained, and a most striking essay in -impressionism, in which an infinity of bold and varied shades and -colours blend in a magnificent symphony.</p> - -<p>Goya, triumphant and rejoicing in a life ample and satisfying, received -on all sides the flatteries of the great, and, caressed by reigning -beauties, lived in the tranquil pursuit of his art, which, though -intense, was yet graceful and gallant, and, as we have said, still -adhered to the manner of the eighteenth century, when a profound shock -agitated the national life—the war with Napoleon and the French -invasion. The first painter to the Court of Carlos IV, a fugitive, deaf, -and already old, life, as he then experienced it, might have seemed to -him a happy dream with a terrible awakening. His possessions, his -pictures, and his models were dispersed and maltreated; the Court seemed -to have finished its career, for his royal master was banished by force, -many of the nobility were condemned to death, and Countesses, Duchesses -and Maids of Honour vanished like the easy and enjoyable existence he -had known. Above all, Saragossa, that heroic city, beleaguered on every -side, was closed to him; a depleted army defended the strategical points -of the Peninsula, and the people—the people whom Goya loved and who had -so often served him as models for his damsels, his bull-fighters, his -wenches, his little children—were wandering over the length and breadth -of Spain, only to be shot as guerillas and stone-throwers by the -soldiers of Napoleon. It was at this moment that the true development of -the artist began. The painter, like his race, was not to be conquered. -The old Goya remained, strong in the creation of a lofty art. The last -twenty years of his life were full indeed, and represented its most -vigorous phase, the most energetic in the whole course of his -achievement. Scenes of war and disaster occupied almost the whole of -this important period, full of a profound pessimism, which still does -not lack a certain graceful style, and displays unceasingly some of the -saddest thoughts which man has ever known. These works of Goya are not -of any party, are not political nor sectarian. They are simply human. -For his greatness is all-embracive and his might enduring. Typical of -his work in this last respect are <i>The Fusiliers</i>, of 1808, and his -lesser efforts, those scenes of brigandage, madness, plague<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> and famine -which occur so frequently in his paintings during the years which -followed the war.</p> - -<p>We do not mean to make any hard and fast assertion that Goya would not -have developed in intensity of feeling if he had not personally -experienced and suffered the horrors of the invasion, but merely to -indicate that it was this which brought about the revulsion within him -and powerfully exalted him. His last years in Madrid, and afterwards in -Bordeaux, where he died, were always characterized by the note of -pessimism, and at times, of horror, as is shown in the paintings which -once decorated his house and are now preserved in the Prado Museum. Not -a few portraits of these years also show that the artist gained in -intensity and in individual style. It is precisely these works, so -advanced for their time and so progressive, that provided inspiration to -painters like Manet, who achieved such progress in the nineteenth -century, and who were enamoured of the visions of Goya, of his technique -and his methods, naturalistic, perhaps, but always replete with -observation and individual expression.</p> - -<p>We must not forget to mention that Goya produced a decorative -masterpiece of extraordinary distinction and supreme originality—the -mural painting of the Chapel of St. Antonio of Florida, in Madrid. Nor -is it less fitting to record his fecundity in the art of etching, in -which, as in his painting, it is easy to observe the development of -their author from a style gallant and spirited to an interpretation of -deep intensity, such as is to be witnessed in the collection of “The -Caprices” and “The Follies,” if these are compared with the so-called -“Proverbs” and especially with “The Disasters of War.”</p> - -<p>The pictures representing Goya at Burlington House were composed of some -twenty works. Among those which belonged to his first period were the -portraits of the Marchioness of Lazan, the Duchess of Alba, lent by the -Duke of Alba, “La Tirana,” from the Academy of St. Fernando, the -Countess of Haro, belonging to the Duchess of San Carlos, four of the -smaller paintings of rural scenes, the property of the Duke of -Montellano, and <i>An Amorous Parley</i> (“Coloquio Galante”), the property -of the Marquis de la Romana, the prototype of the Spanish feeling for -gallantry in the eighteenth century. As representative of the second -phase, of that which holds a note intense and pessimistic, may be taken -<i>A Pest House</i>, lent by the Marquis de la Romana, and those truly -dramatic scenes, the property of the Marquis of Villagonzalo.</p> - -<p>Of portraits of the artist by himself two were exhibited, one small in -size painted in his youth (<a href="#plt_XXVI">Plate XXVI.</a>), in which the full figure is -shown, and the other a head, done in 1815, which gives us a good idea of -the expression and temperament of this extraordinary man.<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p> - -<p>The influence of the art of Goya was not immediate. A contemporary of -his is to be remembered in Esteve, who assisted him and copied from him. -Later, an artist of considerable talent, Leonardo Alenza, who died very -young and had no time to develop his art, was happily inspired by him. -With regard to Lucas, a well-known painter whose production was very -large, and who flourished many years later, and is now known to have -followed Goya, he can scarcely be considered as one of his continuators, -but rather as an imitator—by no means the same thing. For he imitated -Goya, as, on other occasions, he imitated Velázquez and other artists. -Lucas is much more praiseworthy when he follows his own instincts and -does original work. His picture <i>The Auto de Fé</i>, the property of M. -Labat, which was shown at the London exhibition in the room dedicated to -artists of the nineteenth century, is one of the best that we know of -from his brush.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>If the eighteenth century was for Spanish painting an epoch of external -influences, the nineteenth century, especially its second half, must be -characterized as one which sought for foreign direction. During this -period the greater number of painters of talent sought for inspiration -from foreign masters. This was a grave mistake, not because in Spain -there were artists of much ability or even good instructors, but because -this exodus of Spanish painters was a sign that they had lost faith and -confidence in themselves and were strangers to that native force which -in the end triumphs in painting as in everything else. First Paris, then -Rome, the two most important centres of the art of this period, were -undoubtedly centres of a lamentable distortion of Spanish art.</p> - -<p>The organizing committee did not wish the London exhibition to be -lacking in examples of this period of prolific production, to which they -dedicated a room in which were shown examples of the painters of the -nineteenth century. We mention some of the many artists of talent of the -Spain of those days, and indicate their individual characteristics; but -we are unable to allude to their general outlook and the -characterization of their schools, which we do not think existed among -them to any great extent.</p> - -<p>The most famous painter who succeeded Goya was Vincente López, better -known for his portraits than for his other canvases, a skilful artist -with a perfect knowledge of technique, conscientious, fecund, minute in -detail, who has left us the reflection of a whole generation.</p> - -<p>Classicism arrived in Spain with all the lustre of the triumphs of Louis -David, under whose direction José de Madrazo placed himself, the first -of those artists of this type to maintain a position of dignity -throughout three artistic generations. He held an important place among -contem<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span>porary painters at a difficult time during which, in consequence -of the political disorder which reigned, the commissions usually given -by the churches and religious communities ceased, private persons -acquired few paintings, and the academies decreased in the number of -their students. It was a time in which art offered but little -wherewithal to its votaries.</p> - -<p>But this period of paralysis was of short duration. The pictorial -temperament, which inalienably belongs to Spain, and the appearance of -romanticism, with a tendency conformable to the spirit of Spain, and -which had for a long time given a brilliant impulse to her men of -letters, revived painting, which forgot its period of exhaustion. The -frigid classicism, ill-suited to the national genius, now passed away. -José de Madrazo was succeeded in prestige and surpassed in ability by -his son Federico de Madrazo. By his portraits he has bequeathed to us -faithful renderings of all the personages of his day, which compete with -those of the greater foreign portrait painters among his contemporaries.</p> - -<p>Studying at first under classical influences, but regarded as romantics -in their later development, were remarkable portrait painters like -Esquivel and Gutiérrez de la Vega, and a landscape painter of especial -interest, Pérez Villamil, who may in a manner be compared to the great -English landscape painter Turner, though he had no opportunities for -coming in contact with him or any knowledge of his work. Both men, each -in his own environment, breathed the same atmosphere; and, although -reared in lands remote from one another, thought in a like manner -because they both reflected the period in which they lived. Becquer and -others adequately maintained the descriptive note which now entered into -the making of popular subjects.</p> - -<p>Such was the condition of painting in Spain when there appeared the -fruitful and extraordinarily popular <i>genre</i> of historical painting. In -its origin it was not Spanish but was introduced from other countries, -especially from France; but its Spanish affinities are manifest in its -examples, most of which are canvases of great size, imposing, dramatic, -and, in general, effective.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>In this period culture, which in Spain had formerly been the preserve of -a limited class, now spread itself more widely, and in the sphere of art -was greatly fostered by exhibitions of painting, open to all and sundry, -without distinction of social status. Pictures and sculpture, which in -other times had been dedicated solely to art and to religious piety, the -possessions of kings and grandees, now came into public view, were -alluded to in publications of all kinds, and the people, enthusiastic -and critical, were brought face to face with their native art. Many -artists, perceiving this, hoped to gain popular applause, and -consequently<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> worked upon their subjects as seemed most agreeable to the -masses. The historical picture in such circumstances seemed to offer the -greatest possibilities for achieving a popular reputation.</p> - -<p>Gisbert painted the popular heroes of the past and was regarded as the -representative of those revolutionary tendencies in art which were to -triumph several years later. Alisal, Mercade, Palmaroli, Luis Alvarez, -careful and excellent artists, painted both historical and <i>genre</i> -pictures. From this group arose a most remarkable figure who died whilst -still very young, but who has left us a most striking example of his -workmanship. This was Eduardo Rosales, the painter of <i>The Death of -Isabel the Catholic</i>. Rosales represented the Spanish tradition in -painting. Averse to foreign influences, he studied and found in the -great masters the sources of his art, and his works, both in Spain and -beyond it, excited the greatest interest in his time. The picture above -mentioned, sober and simple in style, though it must be classed as -<i>genre</i> painting, has still many admirable and enduring qualities. The -pity is that this group of artists did not follow him; for, flattered by -the public acclamation, they entered upon the second period of -historical painting, less effective than the first and always -conventional, which lasted many years, indeed almost to the present -time. For an atmosphere inimical to the traditions of Spanish painting -arose, in which this type of historical composition flourished at a time -when it had been condemned and forgotten in other countries, where it -was forced to give place to those tendencies in which modern painting -had its origin.</p> - -<p>Rigurosamente, a contemporary of Rosales, was another exceptional artist -of unusual gifts, likewise Mariano Fortuny, who unfortunately died in -his youth. Fortuny, though he may appear quite otherwise to-day, was in -his own time considered a progressive innovator. When he visited Madrid -for the first time, drawn thither by youthful enthusiasm, he did so with -no other idea than that of copying from Velázquez. But seeing in the -Prado Museum the works of Goya, which were totally new to him, he -received a revelation. He copied from Goya, and later, going to Africa, -he painted many studies and pictures replete with light. Light as a -pictorial factor, as an element in a picture, the study of light, the -reflection of it in his own works—that is the progressive element which -we find in Fortuny. The rapid success of his first works, their triumph -in Paris and Rome, was due to an agreeable style, gracious in touch, -suggestive, which appealed to collectors and dealers. At the same time -we do not believe this to have been altogether his ideal, since a few -years before his death, which took place in his thirty-seventh year, we -see him betaking himself to the shores of Italy, where he made new -studies of light and air. Was it reserved to Fortuny to be one of those -of whom it will be said that<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> he assisted the development of the study -of atmosphere and light? We firmly believe this to be so, but the work -of the critic has nothing to do with prophecy, and we must deal only -with that which Fortuny has left us, which is indeed sufficient. It must -not be forgotten in judging his work to-day that its defects, or what -seem to be its defects, were those of his time and were not personal, -and that what is personal to him was his good taste, his mastery, and a -series of innovations and bold essays in colour obvious to those who -study his works. Fortuny was not a Spanish painter in the sense that he -did not preserve the traditions of our School. He certainly took the -elements of his palette from Goya, but his traits of manner show no sign -of the typical qualities of Spanish painting.</p> - -<p>It is fitting to allude here to artists of different types and talents -in some of the cities of Spain, and others living abroad, who laboured -during the last years of the nineteenth century—the Madrazos, Raimundo -and Ricardo, sons of Don Federico de Madrazo, who studied under the -direction of Fortuny; Plasencia, Domínguez and Ferrán, who distinguished -themselves in work of a decorative character in the Church of Saint -Francisca the Great in Madrid; Pradilla and Villegas, who have obtained -the greatest triumphs during a long career; the brothers Mélida, Enrique -and Arturo, the first working in Paris for many years, and the second a -famous decorative artist; Egusquiza, painter and engraver; Moreno -Carbonero, who, more a historical and portrait painter, found a -popularity for his pictures inspired by episodes in literature, -especially those of Quixote, in which he has coincided with Jiménez -Aranda. We may also mention a group of artists, all of Valencia, a city -which in times past, as in the present, enjoyed notable artistic -prosperity: Sala, Muñoz Degrain, Pinazo Camarlench, José Benlliure and -many others. Nearly all of them were represented at the Exhibition at -Burlington House in the Salon set apart for the painters of this epoch.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>In the second half of the nineteenth century the study of nature in the -form of landscape arose as a creed, the artist coming face to face with -the scene which he desired to transfer to his canvas. It has been said -“what the landscape is, so is he who praises it.” Until then the -landscape had been nothing but a background for a composition or figure, -and those who called themselves landscape painters, when they undertook -to paint a scene used it as a peg on which to hang poetical ideas, -embellishing it, but never treating it as a true rendering of nature. -Now the artist came to the country, felt the influence of nature, and -faithfully copied it. The object of his work was to be as natural as -possible, without embellishing or poetizing his subject, but to portray -it, as one might say. This was a new idea to the painters of the time.<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p> - -<p>Pérez Villamil, a follower of romanticism in painting, also practised -landscape art in Spain until it underwent the change mentioned above -through the arrival of a Belgian, Charles de Haes, who succeeded Pérez -Villamil as professor of landscape at the School of Painting. Haes broke -with tradition. He would have no conventionalisms, no studied -compositions, nor preconceptions. He took his pupils to the country and -there told them to copy Nature herself, leaving them without any further -inspiration than that with which God had endowed them. To-day the -studies of this master and of his disciples, generally executed in -strong contrasts of light, seeking, doubtless, the effectiveness thus -produced, appear to us, although they have a sense of luminosity, poor -in colour, obscure and hard. But what progress is represented in them in -comparison with all former art! And it is clear that they express the -tendency which, modern in that time, everywhere governed the advance of -art.</p> - -<p>Shortly afterwards a Spanish landscape painter, not a disciple of Haes, -Martín Rico, a companion of Fortuny, but who, having lived longer than -he and reached a more mature age, advanced a further step in the art of -landscape painting. If the chief aim of this painter had not been the -rapid translation of his gifts into money, and had he not striven to -please the public, he might have achieved lasting fame.</p> - -<p>Casimiro Saiz, Muñoz Degrain—whom we have mentioned already as a -painter of the figure—Urgell, Gomar and others devoted themselves to -landscape; but the most salient examples of Spanish landscape painting -are to be found in the work of three artists who developed with the -rapid evolution of their time—Beruete, Regoyos and Rusiñol. Of these -three sincere and individual painters, Beruete, in his youth a disciple -of Haes, and later of Rico, evinced a very decided modern tendency. He -devoted the years of his maturity to the making of a large number of -pictures of Spanish cities, especially of Castile, paintings truthful -and sincere in character, and revealing a very personal outlook. Regoyos -was influenced by impressionism, to which he was strongly attracted, and -in the North of Spain he inspired many by his numerous works. Rusiñol -is, perhaps, more a poet than a painter. He still lives and works. He -used to find in the gloomy and deserted gardens of Spain subjects for -his pictures. One of the most remarkable figures in Catalonia to-day, -both as a litterateur and painter, he has also sought inspiration in the -scenes and countryside of this, his native province.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>Spanish painting was completely modernized during the last years of the -nineteenth century. Three great international events took place during -that period—the three exhibitions in Paris of the years 1878, 1889 and -1900. At these Spanish painting was fully represented. At the first was<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> -shown a varied collection of the works of Fortuny—one of the most -famous artists of his time—who had died shortly before. In the second -we experienced a rebuff, for a number of historical paintings of -enormous proportions, full of the inspiration of the past, were not -admitted, nor, indeed, were some of these worthy to hang in the -exhibition. But in the years between 1889 and 1900 the development of -Spanish painting was most marked, and in the last of the exhibitions -alluded to the Spanish salons revealed a high level of excellence and a -significant modernity. Moreover, there emerged the personality of a -young painter, hitherto unknown, who by unanimous consent was regarded -as well-nigh qualifying for the highest honours. This was a man whose -name shortly afterwards became famous throughout the world—Joaquín -Sorolla, one of those personalities who from time to time arise in Spain -quite unexpectedly.</p> - -<p>Sorolla, who was of humble origin, was born in Valencia, and in his -youth was naturally influenced by the paintings of the old masters in -his native city. He went to Madrid, later to Italy, and finally to -Paris, where his work of a wholly realistic character was admired, for -actuality was to this painter as the breath of life. A French advocate -of naturalism has said “one rule alone guides the art of painting, the -law of values, the manner in which the light plays upon an object, in -which the light distributes colour over it; the light, and only the -light is that which fixes the position of each object; it is the life of -every scene reproduced in painting.” This statement Sorolla seems to -have taken greatly to heart, even while he was still under the influence -of old traditions and standards of thought.</p> - -<p>Possessing a temperament of much forcefulness, and of great productive -exuberance, enthusiastic about the scenery of the Mediterranean, and -especially enamoured of the richness of colour of his native soil, the -ruddy earth planted with orange-trees, the blue sea and the dazzling -sky, Sorolla, oblivious of what he had done before, felt a powerful -impulse to paint that which was rich in colour, so greatly was he moved -by the eastern spirit. The coasts of Valencia, the lives of the -fishermen, those children of the sea, the bullocks drawing the boats, -the scenes beneath the cliffs and other analogous subjects, painted in -full sunlight—the sunlight of July and August for preference—these are -the subjects on which Sorolla laboured for several years, producing -canvas after canvas, now famous both in Europe and America.</p> - -<p>We do not say that this outlook is ideal, but the study of light and -atmosphere was a contribution to the history of modern art, and was -among the elements which will be handed down to posterity as the -original note of the painters of the last years of the nineteenth -century. Of these Sorolla<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> was one of the most forceful, and we lay -stress upon his work, as in our judgment its importance demands especial -notice. We have not alluded to his great talent as a portrait painter, -nor to the decorative works which he has dedicated to the Hispanic -Society of America in New York, and which, although they are completed, -are not yet installed in place. Some few years after the appearance of -Sorolla, there arose almost simultaneously two Spanish painters of other -tendencies, equally noteworthy, and whose names are universally -known—Zuloaga and Anglada. Zuloaga must be regarded in a very different -manner from Sorolla. In no sense does he go to nature merely to copy it -in the manner in which it presents itself to our vision, but he seeks, -both in nature and humanity, for types, for characteristic figures of a -representative and realistic kind. His work has developed with -robustness and force, and attracts the attention of the modern critic -eager for characteristic and singular qualities. To his reception in the -universal world of art it is not necessary to allude here. The reviews -and periodicals of all countries have commented with praise upon the -achievements of this master, who is still busily at work, constantly -engaged in the representation of popular types in the characteristic -costume of many regions, especially his own people, the Basques, and the -Castilians, for whom he appears to have a special predilection.</p> - -<p>Those landscapes which he takes for the backgrounds of his pictures also -seem to be inspired by that love of character which animates all his -productions. In his latest phase, too, he has executed numerous -portraits of people of different social categories. In technique it is -noticeable that Zuloaga strives to preserve those tonalities which -characterize the Spanish School; and the study he has made of the works -of Velázquez and Goya is manifested in the lively reminiscences of these -masterpieces displayed at times in his pictures, which exhibit, -nevertheless, a relative modernity.</p> - -<p>Anglada is, in our view, completely distinct from Sorolla and Zuloaga. -Enamoured of the charm of colour, his work has no connection with -schools or traditions. Aloof from every influence, he aspires to nothing -so much as rich colour-schemes and harmonies, and seeks inspiration in -night-bound gardens, brightly illuminated, in subjects which reflect -electric light, and in figures which appear all the more distinct as the -background is often the sea beneath the radiance of the Mediterranean -light. These unusual sources of inspiration appear strange at first -sight; but it is noticeable that they manifest on the part of the -painter always the same idea of seeking for rich colouring. We must -regard Anglada as one of the most remarkable and most original of modern -painters. It is a great pity that he was not represented at Burlington -House. His absence, like that of Sert, the great decorative painter, -Beltran, Miguel<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> Nieto and others, was accounted for by the fact that -the pictures were received too late to be included in the Exhibition.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>The salons set apart for modern painting at the London Exhibition seem -to us to have been disposed and arranged with care. There were shown in -the first of these rooms works by Sorolla, his disciple Benedito, one of -the most esteemed portrait painters in Madrid, Zaragoza, Moisés, Carlos -Vázquez, and some landscapes by Rusiñol. The second room was in complete -harmony with the first, and in it we observed the works of artists, some -of whom are still young, but nevertheless masters of strong propensity -and perfect equilibrium; the great composition by Gonzalo Bilbao, <i>The -Cigar-makers</i> (<a href="#plt_XXXVII">Plate XXXVII.</a>); the striking portraits of Chicharro and -Sotomayor; the unmistakably Spanish canvases of Mezquita and Rodriguez -Acosta; and the picturesque and suggestive note of the Valencian figures -by Pinazo Martinez.</p> - -<p>The neighbouring room was dedicated to those who may be called painters -of character, for such was the exclusive note of all the works shown -there. It would not be easy to say who occupied the place of honour -here, Zuloaga, Romero de Torres, an artist of Cordova, who has tried to -create a type of female beauty famous throughout Spain, the brothers -Zubiaurre, peculiarly Basque in feeling, and now well known everywhere, -Salaverria, Ortiz Echagüe, Arrúe, Juan Luis y Arteta, a delicate and -emotional painter who has found on the Basque shores subjects for -pictures unusually simple, in which is displayed a delicacy of technical -expression together with the significance of an idea, inspired, like his -subjects, by a simple poetry.</p> - -<p>Following these, in still other rooms, were hung works similar in type, -but bolder, perhaps, such as those of Solana, whose three canvases, -painted in low tones, were of great interest and excited much remark in -the exhibition; Vázquez Díaz, so various in his subjects, but always -individual; Maeztu, the consistent exponent of a colossal and decorative -style; Castelucho, Urgell, Guezala; and Astruc y Sancha, who combines -caricature of consummate mastery with the painting of landscapes of -manifest originality.</p> - -<p>In another room were exhibited smaller landscapes. These included -examples of Rusiñol, Beruete, Regoyos, Meifren, Forns, Raurich, Colom, -Grosso and Mir. Among the work of other young painters of promise but as -yet little known, we must mention the seascapes of Verdugo Landi and -Nogue.</p> - -<p>The next salon, known as the Lecture Room, formed a kind of overflow for -the last, and contained pictures by Hermoso, Garnelo, Simonet, Morera, -Marin Bagües, Canals, Cardona, Villegas Brieva, Oroz, Mad<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span>razo-Ochoa, -Covarsi, Bermejo, and many other artists, a list of whom would be much -too extensive for inclusion here.</p> - -<p class="dtts">. . . . . . . . . . . . . . .</p> - -<p>We do not think that the assertion that Spanish painting has been a -powerful factor in the history and development of universal art will be -regarded by anyone as a discovery, nor will such a statement appear as a -result of patriotic enthusiasm. Spanish painting to-day follows its -brilliant traditions; and although we believe this present period to be -one of gestation, it occasionally reveals qualities of splendour and -greatness. It is indubitably lacking in marked and decided outlook, but -it is, nevertheless, universally respected and suffers, at the most, -merely from the exigencies of the time. Moreover, not a few critics of -distinction in the Peninsula, who concern themselves with the study of -particular movements, see in it a tendency to the formation of regional -groups. The central one naturally has its focus in Madrid, and radiates -thence over the whole of Spain; but a large output is always forthcoming -from the cities of Seville and Valencia, which appear, by the light of -tradition, as the most brilliant centres of pictorial art. There are, -moreover, two other regions which have produced rich and flourishing -art—Catalonia and the Basque provinces, with their two capital cities, -Barcelona and Bilbao.</p> - -<p>Catalan art is no new thing in Spanish tradition, and is in a measure -descended from that which was formerly the art of the Kingdom of Aragon -before the national union. The Catalans have confined it entirely to -their territory, have cultivated it with enthusiasm, and have created a -Catalan school of Spanish Art. It is a great pity that they have not -tried to preserve a more national spirit and have frequently sought -inspiration from foreign sources, especially from France. But, this -notwithstanding, Catalan achievement is indeed most worthy of praise.</p> - -<p>The artistic production of the Basque provinces is forcible and -original. The Basques, with a scanty pictorial tradition, have shrewdly -sought for inspiration in the Spanish sphere without distinction of -locality, and have produced an art of undoubted interest.</p> - -<p>But apart from this there exists at the present time a movement of -worldwide character, which seems to have a literary origin and which -may, perhaps, be called, for want of a better name, the new spirit. -Though still in a chaotic state, this movement, varied in its aspects, -may in all lands be identified by an underlying intention to -revolutionize everything, creating a new æsthetic code and turning its -back on the past and on all tradition.</p> - -<p>It is not our intention to deal with this movement or to discuss its -importance. Spain does not appear to be the country best fitted to lead -it. Its history seems to show that while it is ready of acceptance, it -is not to be<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> hurried in its advance; nor is it eager to seize upon -radical ideas. But this notwithstanding, it has painters who understand -and cultivate art of this kind, and it must not be forgotten that one of -the outstanding figures in the ultramodern movement is the Spaniard -Picasso, who has shown once more that in all phases of artistic effort -the Spanish temperament significantly reveals itself.</p> - -<p class="rt"> -<span class="smcap">A. de Beruete y Moret</span>.<br /> -(<i>Translated by Lewis Spence</i>)</p> - -<div class="figcenter" style="width: 400px;" id="plt_I"> -<p class="plt">PLATE I</p> -<a href="images/I_pl_i.jpg"> -<img src="images/I_pl_i.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE I</p> - -<p> -YAÑEZ DE LA ALMEDINA<br /> -</p> - -<p>(<i>Collection of the Marquis de Casa-Arquedin, Madrid</i>)</p> - -<p> -“ANTA CATALINA” (“SAINT CATHERINE”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_II"> -<p class="plt">PLATE II</p> -<a href="images/i_pl_ii.jpg"> -<img src="images/i_pl_ii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE II</p> - -<p> -PANTOJA DE LA CRUZ<br /> -</p> - -<p>(<i>Collection of H.M. The King of Spain</i>)</p> - -<p> -“PHILIP II”<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_III"> -<p class="plt">PLATE III</p> -<a href="images/i_pl_iii.jpg"> -<img src="images/i_pl_iii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE III</p> - -<p> -EL GRECO<br /> -</p> - -<p>(<i>Collection of H.M. The King of Spain</i>)</p> - -<p> -“LA GLORIA DE FELIPE II”<br /> -(“THE ‘GLORY’ OF PHILIP II”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_IV"> -<p class="plt">PLATE IV</p> -<a href="images/i_pl_iv.jpg"> -<img src="images/i_pl_iv.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE IV</p> - -<p> -EL GRECO<br /> -</p> - -<p>(<i>Provincial Museum, Toledo</i>)</p> - -<p> -“SAN PABLO” (“SAINT PAUL”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_V"> -<p class="plt">PLATE V</p> -<a href="images/i_pl_v.jpg"> -<img src="images/i_pl_v.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE V</p> - -<p> -EL GRECO<br /> -</p> - -<p><i>Photo: Moreno, Madrid</i></p> - -<p>(<i>Church of Santo Tomé, Toledo</i>)</p> - -<p> -“EL ENTIERRO DEL CONDE DE ORGAZ” (DETAIL.)<br /> -(“THE BURIAL OF COUNT OF ORGAZ”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_VI"> -<p class="plt">PLATE VI</p> -<a href="images/i_pl_vi.jpg"> -<img src="images/i_pl_vi.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE VI</p> - -<p> -EL GRECO<br /> -</p> - -<p>(<i>Prado Museum, Madrid</i>)</p> - -<p> -“RETRATO DE UN CABALLERO”<br /> -(“PORTRAIT OF A NOBLEMAN”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_VII"> -<p class="plt">PLATE VII</p> -<a href="images/i_pl_vii.jpg"> -<img src="images/i_pl_vii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE VII</p> - -<p> -FRANCISCO DE RIBALTA<br /> -</p> - -<p>(<i>Fine Art Museum, Valencia</i>)</p> - -<p> -“SAN PEDRO”<br /> -(“SAINT PETER”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_VIII"> -<p class="plt">PLATE VIII</p> -<a href="images/i_pl_viii.jpg"> -<img src="images/i_pl_viii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE VIII</p> - -<p> -ZURBARAN<br /> -</p> - -<p>(<i>Provincial Museum, Seville</i>)</p> - -<p> -“EL BEATO DOMINICO ENRIQUE SUZON”<br /> -(“THE DOMINICAN, HENRY SUZON”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_IX"> -<p class="plt">PLATE IX</p> -<a href="images/i_pl_ix.jpg"> -<img src="images/i_pl_ix.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE IX</p> - -<p> -VELAZQUEZ<br /> -</p> - -<p>(<i>Collection of Sir Herbert Cook, Bart.</i>)</p> - -<p> -“CALABACILLAS EL BUFON”<br /> -(“CALABACILLAS, THE BUFFOON”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_X"> -<p class="plt">PLATE X</p> -<a href="images/i_pl_x.jpg"> -<img src="images/i_pl_x.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE X</p> - -<p> -VELAZQUEZ<br /> -</p> - -<p> -<i>Photo: Anderson</i><br /> -</p> - -<p>“LAS MENINAS” (THE MAIDS OF HONOUR)</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XI"> -<p class="plt">PLATE XI</p> -<a href="images/i_pl_xi.jpg"> -<img src="images/i_pl_xi.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XI</p> - -<p> -VELAZQUEZ<br /> -</p> - -<p>(<i>Prado Museum</i>, <i>Madrid</i>)</p> - -<p> -“LAS MENINAS” (DETAIL)<br /> -(“THE MAIDS OF HONOUR”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XII"> -<p class="plt">PLATE XII</p> -<a href="images/i_pl_xii.jpg"> -<img src="images/i_pl_xii.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XII</p> - -<p> -VELAZQUEZ<br /> -</p> - -<p>(<i>National Gallery, London. By permission of Messrs. Thos. Agnew & -Sons</i>)</p> - -<p> -“VENUS Y CUPIDO” (“VENUS AND CUPID”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XIII"> -<p class="plt">PLATE XIII</p> -<a href="images/i_pl_xiii.jpg"> -<img src="images/i_pl_xiii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XIII</p> - -<p> -VELAZQUEZ<br /> -</p> - -<p><i>Photo: Mansell</i></p> - -<p>(<i>National Gallery, London</i>)</p> - -<p> -“PHILIP IV”<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XIV"> -<p class="plt">PLATE XIV</p> -<a href="images/i_pl_xiv.jpg"> -<img src="images/i_pl_xiv.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XIV</p> - -<p> -VELAZQUEZ<br /> -</p> - -<p>“INFANTE BALTASAR CARLOS”</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XV"> -<p class="plt">PLATE XV</p> -<a href="images/i_pl_xv.jpg"> -<img src="images/i_pl_xv.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XV</p> - -<p> -VELAZQUEZ<br /> -</p> - -<p><i>Photo: Anderson</i></p> - -<p>(<i>Prado Museum, Madrid</i>)</p> - -<p> -“INFANTE BALTASAR CARLOS” (DETAIL)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XVI"> -<p class="plt">PLATE XVI</p> -<a href="images/i_pl_xvi.jpg"> -<img src="images/i_pl_xvi.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XVI</p> - -<p>VELAZQUEZ</p> - -<p><i>Photo: Mansell</i></p> - -<p>(<i>Wallace Collection, London</i>)</p> - -<p> -“LA DAMA DEL ABANICO”<br /> -(“THE LADY WITH A FAN”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XVII"> -<p class="plt">PLATE XVII</p> -<a href="images/i_pl_xvii.jpg"> -<img src="images/i_pl_xvii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XVII</p> - -<p> -FRAY JUAN RIZI<br /> -</p> - -<p>(<i>Collection of Sir Herbert Cook, Bart.</i>)</p> - -<p> -“UN CABALLERO JOVEN”<br /> -(“A YOUNG CAVALIER”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XVIII"> -<p class="plt">PLATE XVIII</p> -<a href="images/i_pl_xviii.jpg"> -<img src="images/i_pl_xviii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XVIII</p> - -<p> -MURILLO<br /> -</p> - -<p><i>Photo: Anderson</i></p> - -<p><i>Photo: Anderson</i></p> - -<p>(<i>La Caridad, Seville</i>)</p> - -<p> -“MOISES TOCANDO LA ROCA”<br /> -(“MOSES STRIKING THE ROCK”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XIX"> -<p class="plt">PLATE XIX</p> -<a href="images/i_pl_xix.jpg"> -<img src="images/i_pl_xix.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XIX</p> - -<p> -MURILLO<br /> -</p> - -<p><i>Photo: Anderson</i></p> - -<p>(<i>La Caridad, Seville</i>)</p> - -<p> -“EL MILAGRO DE LOS PANES Y LOS PECES”<br /> -(“THE MIRACLE OF THE LOAVES AND FISHES”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XX"> -<p class="plt">PLATE XX</p> -<a href="images/i_pl_xx.jpg"> -<img src="images/i_pl_xx.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XX</p> - -<p> -MURILLO<br /> -</p> - -<p><i>Photo: Anderson</i></p> - -<p>(<i>Provincial Museum, Seville</i>)</p> - -<p> -“SAN FELIX DE CANTALISI Y EL NIÑO JESUS”<br /> -(“ST. FELIX OF CANTALISI AND THE INFANT CHRIST”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXI"> -<p class="plt">PLATE XXI</p> -<a href="images/i_pl_xxi.jpg"> -<img src="images/i_pl_xxi.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXI</p> - -<p> -MURILLO<br /> -</p> - -<p><i>Photo: Mansell</i></p> - -<p>(<i>Wallace Collection, London</i>)</p> - -<p> -“LA CARIDAD DE SANTO TOMAS DE VILLANUEVA”<br /> -(“THE CHARITY OF ST. THOMAS OF VILLANUEVA”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXII"> -<p class="plt">PLATE XXII</p> -<a href="images/i_pl_xxii.jpg"> -<img src="images/i_pl_xxii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXII</p> - -<p> -CARREÑO DE MIRANDA<br /> -</p> - -<p>(<i>Collection of the Duke of Medinaceli, Madrid</i>)</p> - -<p> -“RETRATO DE UNA DAMA”<br /> -(“PORTRAIT OF A YOUNG LADY”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXIII"> -<p class="plt">PLATE XXIII</p> -<a href="images/i_pl_xxiii.jpg"> -<img src="images/i_pl_xxiii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXIII</p> - -<p> -CLAUDIO COELLO<br /> -</p> - -<p>(<i>Collection of Don Aureliano de Beruete y Moret, Madrid</i>)</p> - -<p> -“DON JUAN DE ALARCON”<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXIV"> -<p class="plt">PLATE XXIV</p> -<a href="images/i_pl_xxiv.jpg"> -<img src="images/i_pl_xxiv.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXIV</p> - -<p> -GOYA<br /> -</p> - -<p>(<i>Collection of the Duke of Montellano, Madrid</i>)</p> - -<p> -“EL COLUMPIO”<br /> -(“THE SWING”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXV"> -<p class="plt">PLATE XXV</p> -<a href="images/i_pl_xxv.jpg"> -<img src="images/i_pl_xxv.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXV</p> - -<p> -GOYA<br /> -</p> - -<p>(<i>Collection of the Duke of Montellano, Madrid</i>)</p> - -<p> -“LA CUCAÑA” (“THE GREASY POLE”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXVI"> -<p class="plt">PLATE XXVI</p> -<a href="images/i_pl_xxvi.jpg"> -<img src="images/i_pl_xxvi.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXVI</p> - -<p> -GOYA<br /> -</p> - -<p>(<i>Collection of the Count of Villagonzalo, Madrid</i>)</p> - -<p> -“AUTORRETRATO”<br /> -(“PORTRAIT OF THE PAINTER”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXVII"> -<p class="plt">PLATE XXVII</p> -<a href="images/i_pl_xxvii.jpg"> -<img src="images/i_pl_xxvii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXVII</p> - -<p> -GOYA<br /> -</p> - -<p>(<i>Fernan-Nuñez Collection, Madrid</i>)</p> - -<p> -“CONDE DE FERNAN-NUÑEZ” (DETAIL)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXVIII"> -<p class="plt">PLATE XXVIII</p> -<a href="images/i_pl_xxviii.jpg"> -<img src="images/i_pl_xxviii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXVIII</p> - -<p> -GOYA<br /> -</p> - -<p>(<i>Prado Museum, Madrid</i>)</p> - -<p> -“INFANTE DON CARLOS MARIA ISIDRO”<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXIX"> -<p class="plt">PLATE XXIX</p> -<a href="images/i_pl_xxix.jpg"> -<img src="images/i_pl_xxix.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXIX</p> - -<p> -GOYA<br /> -</p> - -<p>(<i>Private Collection, Madrid</i>)</p> - -<p> -“LA CONDESA DE CHINCHOU” (DETAIL)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXX"> -<p class="plt">PLATE XXX</p> -<a href="images/i_pl_xxx.jpg"> -<img src="images/i_pl_xxx.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXX</p> - -<p> -GOYA<br /> -</p> - -<p>(<i>Collection of the Count of Villagonzalo, Madrid</i>)</p> - -<p> -“EL DUQUE DE SAN CARLOS”<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXXI"> -<p class="plt">PLATE XXXI</p> -<a href="images/i_pl_xxxi.jpg"> -<img src="images/i_pl_xxxi.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXI</p> - -<p> -EDUARDO ROSALES<br /> -</p> - -<p> -“MUJER SALIENDO DEL BAÑO”<br /> -(“WOMAN LEAVING THE BATH”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XXXII"> -<p class="plt">PLATE XXXII</p> -<a href="images/i_pl_xxxii.jpg"> -<img src="images/i_pl_xxxii.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXII</p> - -<p> -MARIANO FORTUNY<br /> -</p> - -<p>(<i>Collection of Capt. Samuels</i>)</p> - -<p> -“EL PATIO DE LA ALBERCA EN LA ALHAMBRA”<br /> -(“THE ALBERCA COURT IN THE ALHAMBRA”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XXXIII"> -<p class="plt">PLATE XXXIII</p> -<a href="images/i_pl_xxxiii.jpg"> -<img src="images/i_pl_xxxiii.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXIII</p> - -<p> -JOAQUIN SOROLLA<br /> -</p> - -<p> -“SALIENDO DEL BAÑO”<br /> -(“AFTER BATHING”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXXIV"> -<p class="plt">PLATE XXXIV</p> -<a href="images/i_pl_xxxiv.jpg"> -<img src="images/i_pl_xxxiv.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXIV</p> - -<p> -IGNACIO ZULOAGA<br /> -</p> - -<p> -“LA SEÑORITA SOUTY”<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XXXV"> -<p class="plt">PLATE XXXV</p> -<a href="images/i_pl_xxxv.jpg"> -<img src="images/i_pl_xxxv.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXV</p> - -<p> -E. MARTINEZ VAZQUEZ<br /> -</p> - -<p> -“UNA ALDEA DE LA SIERRA DE GREDOS (AVILA)”<br /> -(“A VILLAGE IN THE SIERRA DE GREDOS (AVILA)”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XXXVI"> -<p class="plt">PLATE XXXVI</p> -<a href="images/i_pl_xxxvi.jpg"> -<img src="images/i_pl_xxxvi.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXVI</p> - -<p> -LUIS MASRIERA<br /> -</p> - -<p> -“SOMBRAS REFLEJADAS” (“REFLECTED SHADOWS”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XXXVII"> -<p class="plt">PLATE XXXVII</p> -<a href="images/i_pl_xxxvii.jpg"> -<img src="images/i_pl_xxxvii.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXVII</p> - -<p> -GONZALO BILBAO<br /> -</p> - -<p> -“LAS CIGARRERAS” (“THE CIGAR-MAKERS”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XXXVIII"> -<p class="plt">PLATE XXXVIII</p> -<a href="images/i_pl_xxxviii.jpg"> -<img src="images/i_pl_xxxviii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXVIII</p> - -<p> -RAMON DE ZUBIAURRE<br /> -</p> - -<p> -“RETRATO DE MI ESPOSA”<br /> -(“PORTRAIT OF MY WIFE”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XXXIX"> -<p class="plt">PLATE XXXIX</p> -<a href="images/i_pl_xxxix.jpg"> -<img src="images/i_pl_xxxix.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXXIX</p> - -<p> -JOSÉ PINAZO<br /> -</p> - -<p> -“CREPUSCULO”<br /> -(“TWILIGHT”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XL"> -<p class="plt">PLATE XL</p> -<a href="images/i_pl_xl.jpg"> -<img src="images/i_pl_xl.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XL</p> - -<p> -A. ORTIZ ECHAGÜE<br /> -</p> - -<p> -“SUPERSTICION”<br /> -(“SUPERSTITION”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XLI"> -<p class="plt">PLATE XLI</p> -<a href="images/i_pl_xli.jpg"> -<img src="images/i_pl_xli.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLI</p> - -<p> -J. GUTIERREZ SOLANA<br /> -</p> - -<p> -“CARNAVAL EN LA ALDEA”<br /> -(“THE VILLAGE CARNIVAL”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XLII"> -<p class="plt">PLATE XLII</p> -<a href="images/i_pl_xlii.jpg"> -<img src="images/i_pl_xlii.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLII</p> - -<p> -JOSE BENLLIURE GIL<br /> -</p> - -<p> -“HACIENDO BOLILLOS”<br /> -(“LACE-MAKING”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XLIII"> -<p class="plt">PLATE XLIII</p> -<a href="images/i_pl_xliii.jpg"> -<img src="images/i_pl_xliii.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLIII</p> - -<p> -C. CASTELUCHO<br /> -</p> - -<p> -“NIÑOS GITANOS EN LA PLAYA” (“GIPSY CHILDREN ON THE BEACH”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XLIV"> -<p class="plt">PLATE XLIV</p> -<a href="images/i_pl_xliv.jpg"> -<img src="images/i_pl_xliv.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLIV</p> - -<p> -JUAN CARDONA<br /> -</p> - -<p> -“ALTAR DE MAYO”<br /> -(“MAY ALTAR”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XLV"> -<p class="plt">PLATE XLV</p> -<a href="images/i_pl_xlv.jpg"> -<img src="images/i_pl_xlv.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLV</p> - -<p> -F. ALVAREZ DE SOTOMAYOR<br /> -</p> - -<p> -“PAISANAS GALLEGAS”<br /> -(“GALICIAN PEASANT-WOMEN”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XLVI"> -<p class="plt">PLATE XLVI</p> -<a href="images/i_pl_xlvi.jpg"> -<img src="images/i_pl_xlvi.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLVI</p> - -<p> -CARLOS VAZQUEZ<br /> -</p> - -<p> -“UNA DOLOROSA”<br /> -(“OUR LADY OF SORROWS”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_XLVII"> -<p class="plt">PLATE XLVII</p> -<a href="images/i_pl_xlvii.jpg"> -<img src="images/i_pl_xlvii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLVII</p> - -<p> -JOSÉ Ma LOPEZ MEZQUITA<br /> -</p> - -<p> -“PILARCITA”<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_XLVIII"> -<p class="plt">PLATE XLVIII</p> -<a href="images/i_pl_xlviii.jpg"> -<img src="images/i_pl_xlviii.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLVIII</p> - -<p> -FRANCISCO SANCHA<br /> -</p> - -<p>“UN PUEBLO ANDALUZ” (“AN ANDALUSIAN VILLAGE”)</p></div> -</div> - -<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p> - -<div class="figcenter" style="width: 400px;" id="plt_XLIX"> -<p class="plt">PLATE XLIX</p> -<a href="images/i_pl_xlix.jpg"> -<img src="images/i_pl_xlix.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XLIX</p> - -<p> -JOSÉ DE MARTI GARCES<br /> -</p> - -<p> -“INTERIOR”<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_L"> -<p class="plt">PLATE L</p> -<a href="images/i_pl_l.jpg"> -<img src="images/i_pl_l.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE L</p> - -<p> -NICOLAS RAURICH<br /> -</p> - -<p> -“TERRUÑOS”<br /> -(“ROUGH GROUND”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 600px;" id="plt_LI"> -<p class="plt">PLATE LI</p> -<a href="images/i_pl_li.jpg"> -<img src="images/i_pl_li.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LI</p> - -<p> -JOSÉ R. ZARAGOZA<br /> -</p> - -<p> -“VIEJOS BRETONES”<br /> -(“OLD BRETONS”)<br /> -</p></div> -</div> - -<div class="figcenter" style="width: 400px;" id="plt_LII"> -<p class="plt">PLATE LII</p> -<a href="images/i_pl_lii.jpg"> -<img src="images/i_pl_lii.jpg" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE LII</p> - -<p> -CONDE DE AGUIAR<br /> -</p> - -<p> -“RETRATO DE UN TORERO”<br /> -(“PORTRAIT OF A BULLFIGHTER”)<br /> -</p></div> -</div> - -<hr class="full" /> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK SPANISH PAINTING ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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